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Gothic  Hunting  Tapestry .  XI J  .  Century 


CATALOGUE 
MRS.  PHOEBE  A.  HE ARST 
LOAN  COLLECTION 

EDITED  BY 

J.  NILSEN  LAURVIK,  Director 

IN  COLLABORATION 
WITH 

ARTHUR  UPHAM  POPE,  M.  A. 

R.  MEYER'RIEFSTAHL,  PH.  D. 

PHYLLIS  ACKERMAN,  M.  A.,  PH.  D. 


THE  PALACE  OF  FINE  ARTS 

CONDUCTED  BY 

THE  SAN  FRANCISCO  ART  ASSOCIATION 

— s 

SAN  FRANCISCO 

1917 


COPYRIGHTED,  SEPTEMBER,  I9I7 
BY  THE  SAN  FRANCISCO  ART  ASSOCIATION 
ALL  RIGHTS  RESERVED 


Of  this  Edition  1500  copies  were  printed  in  September,  1917 
'Ey  Taylor  &  Taylor,  San  Francisco 


ENGRAVINGS  AND  COLOR  PLATES 
BY  THE  COMMERCIAL  ART  COMPANY,  SAN  FRANCISCO 


PHOTOGRAPHS  BY  GABRIEL  MOULIN,  SAN  FRANCISCO 


COVER  DESIGN  TRANSCRIBED 
BY  EDUARDO  T.  SCOTT 
FROM  THE  RENAISSANCE  BORDER 


NO.  409 


PREFACE 


WITH  the  opening  last  December  of  Mrs.  Phoebe  A.Hearst’s 
Loan  Collection,  the  San  Francisco  Art  Association  entered 
upon  the  permanent  museum  activities  assumed  by  us 
when  we  took  over  the  Palace  of  Fine  Arts  from  the  Directors  of  the 
Panama-Pacific  International  Exposition.  The  possession  of  this 
beautiful  building,  so  generously  placed  at  the  disposal  of  the  people 
of  San  Francisco  by  the  Exposition  Directors,  was  a  challenge  to  all 
that  is  best  in  the  community.  What  more  worthy  answer  to  this  chal¬ 
lenge  could  possibly  be  imagined  than  the  Loan  Collection  presented 
herewith,  and  the  response  that  this  awakened  in  the  people  of  San 
Francisco,  as  evidenced  in  the  two  hundred  and  thirty  thousand  per¬ 
sons  who  have  visited  the  Palace  of  Fine  Arts  in  the  first  fifteen 
months  of  its  existence  as  a  museum? 

As  I  had  occasion  to  observe  in  the  Preliminary  Catalogue,  we  be¬ 
lieve  this  event  marks  an  epochal  step  in  the  cultural  history  of  the 
Pacific  Coast,  and  the  general  public,  no  less  than  the  special  student, 
will  long  have  reason  to  be  grateful  to  the  public-spirited  generosity 
of  Mrs.  Hearst  in  making  her  collection  available  to  the  people  of 
our  State.  Since  its  opening  the  collection  has  been  considerably  aug¬ 
mented  by  important  additions  that  have  necessitated  installing  six 
new  galleries. 

Every  department  of  the  collection  has  been  enriched  by  notable 
accessions,  such  as  the  famous  Conolanus  Senes  of  Gobelin  tapestries, 
the  superb  sixteenth-century  Renaissance  tapestry,  the  late  seven¬ 
teenth-century  Chinese  tapestry  panels,  and  the  seventeenth  and 
eighteenth-century  Spanish  altar-cloths,  to  mention  only  a  few  of  the 
pieces  added  to  the  textile  collection,  while  no  less  than  forty  rugs 
have  been  added  to  the  rug  section,  and  many  notable  additions  to 
the  graphic  section,  such  as  the  unusual  early  pen  drawing  by  Hol¬ 
bein  and  the  two  fine  states  of  the  “Melencolia”  and  the  “St.  Hubert” 
by  Diirer,  besides  a  beautiful  Lancret,  the  collection  of  Persian  manu- 


in 


PREFACE 


scripts,  several  fine  pieces  of  furniture,  and  two  cases  of  Phoenician 
and  European  glass.  The  addition  of  all  this  new  material,  increasing 
the  importance  and  value  of  the  collection  as  a  whole,  so  far  increased 
the  scope  of  the  catalogue  as  to  cause  several  postponements  of  the 
date  of  publication,  all  of  which  is  a  distinct  gain  to  the  public  who 
visits  our  museum. 

We  count  ourselves  fortunate  indeed  in  having  secured  as  our  first 
important  loan  collection  one  as  varied  and  instructive  as  this.  It 
serves  to  illustrate  the  educational  value  to  the  community  of  a  great 
Museum  of  Comparative  Art,  wherein  one  may  study  the  interrelation 
of  all  the  arts,  observing  how  the  same  principles  of  design  and  color 
operate  in  arts  as  diversely  different  as  tapestries  and  engravings, 
rugs,  porcelains,  and  Persian  manuscripts,1  and  thereby  apprehending 
something  of  that  mysterious  law  governing  the  operation  of  the  cre¬ 
ative  impulse  which  finds  its  expression  in  art,  irrespective  of  time 
and  place,  transcending  racial  differences  and  attaining  a  universal 
affinity  that  makes  a  Holbein  one  with  a  Chinese  ancestral  portrait. 

This  collection  presents  the  first  opportunity  on  the  Coast  to  make 
a  comparative  study  of  certain  related  principles  of  art  that  are  too 
often  ignored  or  attributed  to  painting  only.  For  example :  a  compara¬ 
tive  study  of  rugs,  such  as  is  made  possible  by  this  collection,  sug¬ 
gests  a  rich  and  valuable  contribution  to  our  knowledge  of  the  funda¬ 
mental  principles  of  design  and  color  such  as  has  not  yet  been 
attempted,  though  the  fondness  for  rugs  evinced  by  the  old  masters, 
who  often  introduced  them  in  their  paintings,  shows  that  something 
of  this  sort  has  long  been  sensed  by  those  most  sensitive  to  original, 
organic  design.  These  and  kindred  reasons  are  the  impelling  causes 
prompting  one  to  exhibit  rugs  in  an  art  museum  and  to  give  to  them 
the  same  serious  study  that  one  would  accord  a  Leonardo  da  Vinci. 

'Note  the  kinship  of  feeling  in  the  Diirer  prints  and  the  fourteenth-century  Gothic 
Hunting  Tapestry ,  and  again  how  the  latter  has  a  near  affinity  with  the  Persian  Animal 
Carpet t  white  the  relation  between  the  art  of  the  Persian  calliagraphist  and  the  art  of 
the  Persian  rug-weaver,  as  illustrated  in  plate  No.  516  and  plate  No.  707,  is  so  close  as 
to  appear  obvious  to  even  the  most  casual  student,  who ,  I  am  sure,  will  discover  the 
same  principles  of  design  and  color  in  the  illuminated  title-pages  of  the  Persian  manu¬ 
scripts  shown  here  as  are  revealed  in  rugs  such  as  the  late  seventeenth-century  Herat. 


IV 


PREFACE 


iEsthetically  and  racially,  they  are  no  less  revealing  and  frequently 
more  interesting  in  that  they  are  the  products  of  the  earliest  expres¬ 
sion  of  those  aesthetic  impulses,  the  manifestation  of  which  has  come 
to  be  called  art;  nor  are  they  less  authentic  and  expressive  because 
communicated  with  the  force  and  directness  of  the  primitive  loom, 
which  gives  to  all  its  products  a  certain  character  and  worth  rarely 
surpassed  by  the  more  sophisticated  products  of  the  so-called  fine  arts. 

The  extraordinary  co-ordination  of  color  and  pattern  exhibited  in 
certain  of  these  pieces  is  a  sharp  challenge  to  the  oft-repeated  dis¬ 
tinction  made  between  the  major  and  minor  arts,  and  one  is  con¬ 
strained,  after  studying  these  rugs,  to  say  that  there  are  no  major  or 
minor  arts,  only  major  and  minor  artists,  and  that  greatness  trans¬ 
figures  the  material  to  the  point  of  art,  be  it  paint  or  potter’s  clay. 
This  truth,  too  rarely  insisted  upon,  is  of  prime  importance  in  any 
consideration  of  art,  whether  it  be  fine  or  applied  art,  and  a  collection 
such  as  this  should  do  much  to  make  it  clear. 

Surely  such  opulent  fantasy  of  design  and  such  rich  exotic  color  as 
are  revealed  in  the  fourteenth-century  Gothic  Hunting  Tapestry  are 
deserving  of  something  better  than  the  left-handed  compliment  of  a 
comparison  with  painting.  In  its  archaic  naivete,  in  its  masterly  filling 
of  the  allotted  space,  in  the  fine  subordination  of  its  varied  details  to 
the  general  effect,  this  glorious  product  of  the  loom  is  a  worthy  ex¬ 
emplar  of  the  highest  ideals  of  mural  decoration  no  less  than  of  the 
aristocratic  art  of  tapestry-weaving.  In  another  way,  this  is  equally 
true  of  the  noble  severity  of  line  and  restrained  sobriety  of  color  in 
the  small  Ching  Lung  Tapestry  in  the  textile  section. 

Reflections  such  as  these  are  the  natural  consequences  of  a  compar¬ 
ative  study  of  art,  and  herein  lies  the  educational  as  well  as  the  aes¬ 
thetic  value  of  a  collection  as  varied  as  this.  The  study  of  such  a  col¬ 
lection  inevitably  leads  to  a  clearer  conception  of  relative  values, 
without  which  there  can  be  little  real  understanding  of  the  generating 
principles  that  animate  the  production  of  art. 

It  is  our  hope  that  this  catalogue  will  serve  as  a  helpful  guide  to 
all  those  wishing  to  make  such  a  use  of  this  collection,  and  this  desire 


v 


PREFACE 


must  be  our  excuse  for  a  reversal  of  the  usual  procedure  and  devot¬ 
ing  comparatively  more  attention  to  the  rugs,  tapestries,  and  textiles 
than  to  the  paintings.  A  perusal  of  the  text  in  conjunction  with  the 
exhibits  will,  I  am  sure,  justify  this  treatment  in  the  eyes  of  the  seri¬ 
ous  student,  who  will  appreciate  at  its  true  worth  the  scholarly  work 
done  by  Professor  Pope,  Dr.  Meyer-Riefstahl,  and  Miss  Ackerman, 
whose  untiring  and  painstaking  researches  have  made  such  a  cata¬ 
logue  possible. 

J.  Nilsen  Laurvik. 


VI 


VII 


TABLE  OF  CONTENTS 


Textiles  (continued)  page 

A.  WOVEN  FABRICS . l86 

B.  TAPESTRY  WEAVES . 199 

C.  CASHMERE  SHAWLS . 201 

D.  PRINTED  AND  DYED  FABRICS . 203 

E.  NEEDLEWORK . 206 

Bibliography  . 217 

TAPESTRY  WEAVING . 219 

TAPESTRY  DESIGNERS  AND  WEAVERS . 221 

RUGS . 223 

MAGAZINE  LITERATURE . 23O 

Index  to  Contributors  . 235 

Index . 239 


VIII 


LIST  OF  ILLUSTRATIONS 

Gothic  Hunting  Tapestry.  XIV.  Century 

.  Frontispiece 

The  Palace  of  Fine  Arts  and  Lagoon 

Facing  Page  xii 

Colonnade  of  Palace  of  Fine  Arts 

l 

Spring  Landscape . 

4 

The  Falconers . 

5 

A  Road  in  France . 

12 

The  Landing  of  the  Royal  Barge  . 

13 

Preparing  for  the  Ball . 

l6 

French  Landscape . 

17 

Music  . 

20 

Children’s  Garden  Party . 

21 

Adoration  of  the  Infant  Christ 

.  28 

Peasant  Mother  . 

•  29 

Portrait  of  Marie  de  Medici  .... 

•  32 

Evening  in  the  Forest . 

•  33 

The  Coast  of  Italy . 

•  34 

St.  Luke  Writing  the  Gospel 

•  35 

Snow  Pass  at  Schipka . 

•  36 

The  Jews  Wailing-Place,  Jerusalem 

•  37 

The  Sleigh  Ride  (French  Tapestry) 

•  38 

September  (Renaissance  Tapestry) 

•  39 

The  History  of  Coriolanus — No.  I 

.  42 

The  History  of  Coriolanus — No.  II 

•  43 

The  History  of  Coriolanus — No.  Ill 

•  44 

T he  History  of  Coriolanus — No.  IV 

•  45 

T he  History  of  Coriolanus — No.  V 

48 

Verdure  Tapestry  (Beauvais  Style  of  Teniers) 

•  49 

Verdure  Tapestry  (Beauvais  Style  of  Teniers) 

•  5o 

German  Embroidery.  XVI.  Century  . 

•  5i 

IX 


LIST  OF  ILLUSTRATIONS 


Chinese  Tapestry  Representing  the  Eight 

Immortals . Facing  Page  51 

Boreas  Abducting  Orythia . ^2 

Renconter  (The  Encounter) . ^3 

Ship  Scenes  Series — No.  I  . 60 

Ship  Scenes  Series — No.  II  . 6! 

Ship  Scenes  Series— No.  Ill . 62 

Ship  Scenes  Series — No.  IV . 63 

Ship  Scenes  Series — No.  V  . 64 

View  of  Gallery  64  63 

Kien  Lung  (Chinese) . 67 

Map  of  the  Rug  Producing  Districts  of  Western  Asia  .  72 

Animal  Carpet.  Tabriz . 80 

Herat  (So-called  Ispahan) . 81 

General  Gallery  View  . 100 

Kurdistan.  Probably  Souj-Bulak . 101 

Hamadan  . 108 

Ghiordes  Prayer-Rug  (So-called  Bektash) . 109 

Ghiordes  Prayer-Rug . 116 

Kulah  Prayer-Rug . 117 

Kulah  Prayer-Rug . 124 

OUSHAK  .  .125 

Tuzla  Prayer-Rug . 128 

Kuba  . . 129 

Daghestan  Prayer-Rug  .  132 

Baku  . 133 

Samarkand  Palace  Carpet  in  Silk  on  Two-Color  Gold 

Ground . 140 

Chinese  Silk  Rug  (Late  K’ang  Hsi) . 141 

Blue  and  White  Porcelain  Screen  (China)  ....  148 

Louis  XV.  Sleigh  (France) . 149 

German  Wrought-Iron  Grave  Post  . . 130 


LIST  OF  ILLUSTRATIONS 


German  Wrought-Iron  Crucifix  .  .  .  Facing  Page  \$o 

Sedan  Chair.  Louis  XV . 151 

Spinnet . 151 

Renaissance  Cabinet  (Italy) . *54 

Spanish  Cabinet  and  Secretaire . x55 

Louis  XVI.  Piano . 

Early  Chickering Piano  (Empire  Style) . *57 

Renaissance  Cathedral  Stall  . *6° 

Flemish  Box  Bed . 1^1 

Full-page  Illustrations  in  Color  from  the  Manuscript 

Copy  of  the  Romance  of  Joussof-Zuleika  ....  164 

Full-page  Illustrations  Executed  in  Monochrome  from 

the  Complete  Works  of  the  Poet  Saadi . 165 

Page  No.  XXII  from  a  Collection  of  Forty-eight  Pages  of 
Calligraphic  Art  by  Noted  Persian  Masters  of 

Calligraphy . *72 

Section  of  Textile  Installation  . 176 

Brocade  (French).  Early  XVIII.  Century . 177 

Shawl  (Borneo).  XIX.  Century . 180 

Rich  Applique  Embroidery  (Spanish) . 181 

Embroidered  Chasuble  (Spain) . 188 

Embroidery  (Spain).  Early  XVIII.  Century  ....  189 

Altar-Cloth,  or  Antependium . 2°8 


The  Palace  of  Fine  Arts  and  Lagoon 


I 

PAINTINGS 
AND  MINIATURES 


ALL  MEASUREMENTS  GIVEN 
IN  THIS  CATALOGUE  ARE  INDICATED  IN 
FEET  AND  INCHES 


PAINTINGS  AND  MINIATURES 


COROT,  (Jean  Baptiste)  Camille. 

Born  in  Paris  July  20,  1796;  died  there  February  23,  1875. 
Landscape  painter ;  pupil  of  Michallon,  and  after  his  death 
of  Victor  Bertin.  Traveled  in  Italy  in  1826,  where  he  paint¬ 
ed  many  fine  landscapes  and  figure  pieces.  Upon  returning 
to  France  he  painted  in  Provence,  Normandy,  and  Fon¬ 
tainebleau,  where  he  developed  his  highly  suggestive  and 
poetic  style  of  landscape  painting.  He  has,  by  reason  of  his 
peculiar  excellence  in  treating  still  water,  the  sleeping 
woods,  the  broad  pale  horizon,  and  the  veiled  sky,  been 
called  the  Theocritus  of  landscape  painting.  He  is  no  less 
distinguished  as  a  figure  painter.  Though  less  generally 
known  as  such,  his  figure  paintings  vie  in  interest  and  im¬ 
portance  with  the  best  achieved  in  modern  times.  Fie  was  the 
recipient  of  innumerable  honors,  and  his  paintings  are 
found  in  almost  every  important  private  and  public  collec¬ 
tion. 

Spring  Landscape.  Signed  in  lower  left-hand  corner :  Corot. 

On  canvas;  w.  1'  8W,  h.  2'  1  y&". 

DETAILLE,  (Jean  Baptiste)  Edouard. 

Born  in  Paris  October  5,  1848;  died  December,  1912.  Genre 
painter;  pupil  of  Meissonier;  exhibited  at  the  Salon  of  1868 
his ‘‘Halt  of  Infantry”  and  in  1869  “The  Rest  During  Drill 
at  Camp  St.  Maur,”  which  established  his  reputation  as  one 
of  the  most  popular  military  painters  of  the  day.  His  pro¬ 
lific  brush  won  him  almost  every  honor  possible  for  an  artist 
to  attain.  His  paintings  are  found  in  public  and  private  col¬ 
lections  all  over  the  world,  chiefly  in  America,  where  his 
anecdotal,  photographic  naturalism  won  him  countless  ad¬ 
mirers  during  the  latter  part  of  the  last  century. 

Soldiers  Halting  at  a  Country  Inn.  Signed  in  lower  left- 
hand  corner:  Detaille  1895. 

On  canvas;  w.  2'  17/s",  h.  V  6". 

FROMENTIN,  Eugene. 

Born  at  La  Rochelle  (Charante-Inferieure)  October  24, 


3 


1820;  died  at  St.  Maurice,  near  La  Rochelle,  August  27, 
1876.  Genre  painter ;  pupil  of  Remond  and  Cabat ;  visited 
Algiers  in  1846-48  and  in  1852-53,  and  brought  home  many 
sketches,  from  which  he  painted  his  characteristic  pictures  of 
Oriental  life.  He  was  the  author  of  a  successful  romance 
entitled  “Dominique,”  published  in  1863,  and  of  various 
admirable  works  on  art  and  travel.  He  was  one  of  the  fore¬ 
most  exponents  of  the  romantic  movement  in  France.  He 
was  the  recipient  of  many  honors,  including  the  Legion 
d’Honneur,  of  which  he  was  made  an  officer  in  1869.  He  is 
represented  in  the  foremost  private  and  public  collections  in 
Europe  and  America,  many  of  his  finest  canvases  being  in 
the  possession  of  American  collectors. 

The ■  Falconers.  Signed  in  lower  right-hand  corner:  Fug. 

Fromentin. 

On  canvas;  w.  V  1134".  h.  2ft". 

HARPIGNIES,  Henri. 

Born  at  Valenciennes  July  28,  1819.  Landscape  painter  of 
the  Fontainebleau  school,  of  which  for  many  years  he  had 
been  the  sole  surviving  representative  when  he  died,  August 
29,  1916.  He  was  a  pupil  of  Achard  and  excelled  both  in 
oils  and  water-colors.  His  aquarelles  are  characterized  by  a 
strength  and  breadth  that  resemble  somewhat  the  best  quali¬ 
ties  of  the  English  school  of  water-color  painters.  He  exhib¬ 
ited  regularly  from  1852  to  the  time  of  his  death,  painting 
almost  to  the  very  end  with  but  comparatively  little  diminu¬ 
tion  of  his  early  vigor.  He  was  the  recipient  of  many  honors, 
which  found  their  culmination  in  his  election  to  the  Legion 
d’Honneur  in  1875,  of  which  he  was  made  an  officer  in  1883. 
He  is  represented  in  public  and  private  collections  the  world 
over,  especially  in  America,  where  many  of  his  finest  early 
paintings  found  ready  and  appreciative  purchasers. 

A  Road  in  France.  Signed  in  lower  left-hand  corner :  H. 

Harpignies. 

On  canvas;  w.  2'  1  Ms",  h.  1'  ?"• 


AND  MINIATURES 

5 

ISABEY,  Eugene  (Louis  Gabriel). 

Born  in  Paris  July  22,  1804;  died  in  Paris  April  26,  1886. 
Landscape,  marine,  and  figure  painter ;  son  and  pupil  of 
Jean  Baptiste  Isabey.  In  1830  he  accompanied  the  Govern¬ 
ment  expedition  to  Algiers  as  royal  marine  painter,  where 
his  highly  romantic  temperament  found  congenial  subject- 
matter  for  his  facile  brush.  He  was  awarded  many  medals 
and  honors  and  was  made  an  officer  of  the  Legion  d’Hon- 
neur  in  1852.  He  is  one  of  the  most  popular  exponents  of 
the  romantic  movement  in  France,  and  is  represented  in  most 
of  the  important  provincial  museums,  in  the  Luxembourg, 
and  in  the  leading  public  and  private  collections  in  America 
as  well  as  in  Europe. 

The  Landing  of  the  Royal  Barge.  Signed  in  lower  left-hand 
corner:  E.  Isabey  ’76. 

On  canvas;  w.  5'  1054",  h.  4'  0 J4". 

5 

ITALIAN  SCHOOL.  XVII.  Century. 

The  Adoration  of  the  Magi. 

On  canvas;  w.  3'  4",  h.  3'  11 3A". 

6 

LANCRET,  Nicolas. 

Born  in  Paris  January  22,  1690;  died  there  September  14, 
1743.  Genre  painter;  pupil  of  Dulin  (1669-1748)  and  Gil- 
lot.  Was  strongly  influenced  by  Watteau,  with  whom  he  was 
on  friendly  terms  until  1719,  when  both  were  admitted  to 
the  Academy.  Because  of  a  similarity  in  subject  and  treat¬ 
ment,  the  pictures  of  these  two  masters  are  occasionally  con¬ 
founded,  though  Watteau  is  by  far  the  greater  artist.  Lan- 
cret  was  much  in  demand  as  a  decorative  painter,  and  embel¬ 
lished  many  screens,  spinets,  and  the  like  with  pastoral  and 
salon  scenes,  such  as  the  screen  in  the  Morgan  collection. 
He  is  represented  in  most  of  the  important  public  and  private 
collections  in  Europe  and  America. 

Preparing  for  the  Ball. 

On  canvas;  w.  2'  7 54",  h.  3'  3". 

7  | 

PAINTINGS 


LEPINE,  J. 

French  painter  of  the  Impressionist  school  and  a  friend  and 
colleague  of  the  leading  representatives  of  that  school,  with 
whom  he  exhibited  in  1874  at  the  galleries  of  M.  Nadar  in 
Paris.  He  is  a  painter  possessed  of  fine  sensibilities,  and  has 
painted  many  delicately  observed  Parisian  scenes,  land¬ 
scapes,  old  quays,  and  streets,  usually  enveloped  in  a  golden 
gray  mist,  of  which  the  following  is  a  characteristic  example. 

French  Landscape.  Signed  in  lower  right-hand  corner :  J. 

Lepine. 

On  canvas;  w.  1'  9 V  6". 

LOO,  Charles  Andre  Van.  (Usually  known  as  Carle 
Vanloo). 

Born  at  Nice  February  15,  1705;  died  in  Paris  July  15, 
1765.  He  was  a  sculptor  as  well  as  a  painter,  and  was  a 
pupil  of  his  brother,  Jean  Baptiste,  with  whom  he  went  to 
Rome,  where  he  studied  under  Benedetto  Luti  and  learned 
sculpture  under  Legros.  Upon  his  return  to  Paris  he  won 
the  first  prize  for  drawing  in  1723  and  the  Prix  de  Rome  in 
1724,  visiting  Rome  again  in  1727,  where  he  became  a  mem¬ 
ber  of  the  Academy  of  St.  Luke  and  was  knighted  by  the 
Pope  in  1771.  He  became  a  member  of  the  French  Academy 
in  1775  ;  was  made  professor  in  1737;  director  of  Royal 
School  of  Art  1749 ;  decorated  with  the  Order  of  St.  Michael 
in  1751 ;  made  rector  of  the  Academy  in  1754;  director  of 
the  Academy  and  first  painter  to  the  King  in  1763.  He  is 
chiefly  famous  for  his  religious  and  mythological  subjects, 
though  he  painted  a  number  of  excellent  portraits,  including 
the  large  equestrian  portrait  in  the  Marseilles  Museum,  as 
well  as  the  self  portrait,  now  in  the  Hermitage  in  St.  Peters¬ 
burg.  Besides  these  he  is  represented  by  important  canvases 
in  the  galleries  of  BesanQon,  Glasgow,  Paris,  and  Potsdam. 


9 


Music.  Signed  on  the  lower  right-hand  page  of  notes  held 
by  Cupid:  Carle  Vanloo. 


On  canvas;  w.  4'  6J4",  h.  2'  11". 


AND  MINIATURES 


7 


MARR,  Carl. 

Born  February  14,  1858;  American  painter  of  the  Munich 
school.  Educated  in  the  German  and  English  Academy, 
Milwaukee ;  pursued  his  art  studies  in  the  academies  of  fine 
arts  at  Weimar,  Berlin,  and  Munich.  Made  his  professional 
debut  as  a  painter  about  1877,  and  has  for  some  time  been 
professor  in  the  Academy  of  Fine  Arts  in  Munich.  Is  the 
recipient  of  numerous  awards  and  decorations,  and  is  a  mem¬ 
ber  of  many  leading  art  societies  in  Europe. 

Children’s  Garden  Party.  Signed  in  lower  right-hand  cor-  10 
ner:  Carl  Marr,  Munchen,  ’92. 

On  canvas;  w.  6'  914",  h.  4'  AVu". 

The  Adoration  of  the  Infant  Christ.  Signed  in  lower  right-  1 1 
hand  corner:  Carl  Marr,  Munchen. 

On  canvas;  w.  13'  AYt" ,  h.  7'  10  J4". 


MILLET,  Jean  Francois. 

Born  at  Greville  (Manche,  in  Normandy)  October  4,  1814; 
died  at  Barbizon  (Seine-et-Marne)  January  20,  1875.  Genre 
painter;  pupil  of  Mouchel  and  of  Langlois  in  Cherbourg 
and  of  Delaroche  in  Paris.  Exhibited  for  the  first  time  at 
the  Salon  in  1840 ;  returning  to  Cherbourg  in  the  same  year, 
he  supported  himself  by  painting  portraits;  returned  to 
Paris  in  1842;  settled  finally  at  Barbizon  in  1849.  He  was 
decorated  with  the  Legion  d’Honneur  in  1868.  Himself  of 
peasant  origin,  he  excelled  as  an  interpreter  of  peasant  life, 
which  he  painted  with  a  simplicity  and  earnestness  of  feel¬ 
ing  unequaled  by  any  other  painter.  His  early  life  was  full 
of  hardships  and  obstacles,  which  were  not  lessened  by  the 
hostile  attitude  of  his  colleagues  of  the  Academy,  who  re¬ 
fused  him  admittance  to  their  salons.  To  gain  a  livelihood 
he  painted  signs  and  popular  pot-boilers.  The  latter  were 
chiefly  nudes  painted  to  meet  the  current  taste  of  the  French 
public;  but  even  in  these  he  revealed  the  incomparable 
quality  of  his  genius.  These  nudes,  painted  for  a  few  francs, 
are  among  the  most  lovely  nudes  painted  in  modern  times, 
and  reveal  upon  what  a  sound  basis  of  academic  knowledge 


PAINTINGS 


his  art  was  founded.  Despised  and  neglected  in  his  lifetime, 
his  work  today  commands  prices  comparable  to  that  of  the 
greatest  old  masters,  and  he  has  come  to  be  regarded  as  one 
of  the  epoch-making  figures  of  modern  art.  Originally  re¬ 
jected  by  officialdom,  today  private  collectors  vie  with  pub¬ 
lic  institutions  for  the  possession  of  his  works,  which  are 
found  in  the  foremost  collections  throughout  the  world. 
Many  of  his  most  important  paintings  are  owned  in  Amer¬ 
ica,  where  his  art  found  its  earliest  appreciation.  After  his 
death  fifty-six  pictures  and  studies  in  his  studio,  many  un¬ 
finished,  brought  321,034  francs  at  auction,  an  amount  many 
times  in  excess  of  his  total  earnings  during  his  whole  life. 


12 


Peasant  Mother.  Signed  in  lower  right-hand  corner  with 


the  initials  J.  F.  M. 


On  canvas;  w.  1'  2l/t",  h.  1'  5 


MONET,  Claude. 

Born  in  Paris  in.  1824;  pupil  of  Gleyre  for  a  month;  since 
then  self-taught.  He  is  now  acknowledged  as  the  foremost 
exponent  of  impressionism,  and  his  work  is  a  magnificent 
verification  of  the  optical  researches  of  Helmholtz  and 
Chevreul  into  the  vibratory  qualities  of  color.  His  early 
work  was  strongly  influenced  by  Daubigny ;  his  first  lumi¬ 
nous  studies  date  back  to  about  1885,  developed  through  a 
remarkable  series  devoted  to  a  precise  yet  poetical  study  of 
certain  subjects  seen  under  the  ever-changing  atmospheric 
and  light  conditions  that  mark  the  successive  hours  of  the 
day,  which  might  appropriately  be  called  “Investigations  of 
the  Variations  of  Sunlight.”  The  most  famous  of  these  series 
are  The  Hayricks,  The  Poplars,  The  Cliffs  of  Etretat,  The 
Coins  de  Riviere,  The  Cathedrals,  The  Water  Lilies,  and 
the  Thames  Series.  This  epoch-making  series  is  perhaps  the 
most  revolutionary  contribution  to  the  art  of  painting  made 
since  its  invention  by  the  Van  Eyck  brothers. 


River  Landscape.  Signed  in  lower  left-hand  corner:  Claude 

Monet. 

On  canvas;  w.  2'  1 1$ ",  h.  2'  7lA". 


AND  MINIATURES 


9 


PASINI,  Alberto. 

Contemporary  genre  painter.  Born  at  Busseto,  near  Parma, 

Italy.  Studied  with  Eugenio  Ciceri,  Isabey,  and  Theodore 
Rousseau  ;  known  chiefly  through  his  Turkish,  Arabian,  and 
Persian  subjects. 

The  Arrival  of  the  Sultan’s  Harem.  Signed  in  lower  right-  x4 
hand  corner:  A.  Pasini,  1872. 

On  canvas;  w.  3'  1  y2",  h.  4'  11". 

Lent  by  William  Randolph  Hearst,  Esq. 


POURBUS,  Francis  (The  Younger). 

Born  in  Antwerp  in  1570;  died  in  Paris,  buried  February 
19,  1622.  Flemish  school;  historical  and  portrait  painter; 
son  and  pupil  of  Francis  Pourbus  the  Elder.  Lived  for  some 
time  in  Brussels,  and  from  1600  he  was  court  painter  to 
Yincenzoi  Gonzaga  at  Mantua;  from  1610  he  was  attached 
to  the  court  of  Henry  IV.  of  France,  where  he  became  the 
favorite  painter  of  Marie  de  Medici,  of  whom  he  painted 
many  portraits,  two  of  which  are  in  the  Madrid  Museum 
and  two  in  the  Musee  Rath,  Geneva,  and  another  in  the 
Louvre,  together  with  his  portrait  of  Henry  IV.,  his  “Last 
Supper,”  and  the  portrait  of  Francis  of  Assisi.  Besides  the 
foregoing,  he  is  represented  in  many  of  the  leading  galleries 
throughout  the  world. 

Portrait  of  Marie  de  Medici.  Standing;  full  length. 

On  canvas;  w.  3'  10",  h.  6'  6". 

ROUSSEAU,  (Pierre  Etienne)  Theodore. 

Born  in  Paris  April  15,  1812;  died  at  Barbizon,  near  Fon¬ 
tainebleau,  December  22,  1867.  Landscape  painter ;  pupil  of 
Remond  and  of  Lethiere.  Revealed  himself  a  true  “natural¬ 
ist”  in  his  first  picture  (1826),  and  thenceforth,  up  to  1848, 
when  his  works,  after  being  excluded  thirteen  years  from 
the  Salon  by  the  Academical  Jury,  were  readmitted,  he 
fought  the  battle  of  naturalism  with  varying  success.  With 
Corot,  Daubigny,  Dupre,  and  Diaz,  he  founded  the  modern 
French  school  of  landscape  painting,  of  which  he  himself  is 


IO 

PAINTINGS 

one  of  the  chief  glories.  Few,  if  any,  have  surpassed  him  in 
bigness  of  vision  and  in  poetic  interpretation  of  the  romantic 
aspects  of  nature.  Despite  his  great  qualities,  he  was  always 
in  more  or  less  needy  circumstances,  and  finally  died  of  a 
broken  heart,  due  to  an  intrigue  regarding  his  election  to  the 
Officers’  Cross  of  the  Legion  d’Honneur,  one  of  the  lower 
grades  of  which  had  been  bestowed  upon  him  in  1852.  He  is 
today  regarded  as  one  of  the  greatest  landscape  painters  of 
all  time,  and  is  represented  in  the  foremost  public  and  pri¬ 
vate  collections  in  the  world. 

16 

Evening  in  the  Forest.  Signed  in  lower  left-hand  corner: 

Th.  Rousseau. 

On  canvas;  w.  6'  2",  h.  4'  9". 

17 

SCHONLEBER,  Gustav. 

Born  at  Bietigheim,  Wiirtemberg,  in  1852.  Landscape  and 
architectural  painter ;  pupil  of  Kurtz  in  Stuttgart  and  of 
Adolf  Lier  in  Munich;  traveled  in  Italy  and  Holland;  pro¬ 
fessor  in  Carlsruhe  in  1880.  Lie  was  the  recipient  of  many 
honors,  and  is  represented  in  leading  galleries  throughout 
Europe. 

The  Coast  of  Italy.  Signed  in  lower  left-hand  corner:  G. 

Schonleber  1888. 

On  canvas;  w.  8'  554",  h.  S'  10". 

18 

19-20 

21 

SPANISH  SCHOOL.  XVI.  Century. 

St.  Luke  Writing  the  Gospel. 

On  wood;  w.  3'  5",  h.  S'  3", 

Three  Eighteenth-Century  miniatures.  Artist  and  subjects 
unknown. 

1  22 

VASQUEZ,  Carlos. 

The  Mother-in-Law.  Signed  in  lower  right-hand  corner: 

Carlos  Vasquez,  Salamanca,  igo8. 

On  canvas;  w.  6'  0",  h.  6'  554". 

Lent  by  William  Randolph  Hearst,  Esq. 

AND  MINIATURES 

II 

VERESHCHAGIN,  Vasili  Vasilievich. 

Born  in  the  village  of  Liubetz  in  the  district  of  Cherepovets 
and  the  government  of  Novgorod  October  14  (26),  1842. 
He  was  of  Tartar  blood  on  his  mother’s  side.  His  father  was 
a  rich  land-owner  and  intended  him  for  the  navy,  and  en¬ 
tered  him  in  the  naval  school  in  1858  in  St.  Petersburg, 
where  he  also  attended  the  St.  Petersburg  drawing  school. 
Here  he  won  a  medal  with  his  first  picture.  In  opposition  to 
his  parents’  wishes,  he  left  the  navy  and  journeyed  to  Paris, 
where  he  studied  under  Gerome  and  at  the  Ecole  des  Beaux 
Arts.  He  passed  his  vacations  in  the  Caucasus,  where  he 
studied  the  manners  of  Russian  peasantry.  He  very  early 
rebelled  against  the  classical  regime  of  the  academies  and 
adopted  naturalism  as  his  form  of  expression,  which  he  de¬ 
veloped  with  a  graphic  power  that  shocked  many  of  his  con¬ 
temporaries  and  for  a  time  prevented  the  exhibition  of  his 
pictures  in  Russia,  where  his  relentless  expose  of  the  horrors 
of  war  brought  down  upon  him  the  displeasure  of  the  Czar 
and  his  entourage.  In  1867-70  he  accompanied  General 
Kaufmann  to  Turkestan  and  later  visited  China  and  India. 
He  participated  in  the  Russo-Turkish  war,  was  severely 
wounded,  and  assisted  as  secretary  in  the  peace  negotiations. 
His  war  pictures  were  painted  in  cycles,  and  his  principal 
works  are  classified  by  himself  in  three  sections,  dealing 
with  India,  Turkestan,  and  with  the  Russo-Turkish  war. 

In  1885  he  exhibited  in  Vienna  eighty-three  paintings  that 
created  a  sensation  and  firmly  established  his  reputation  as  a 
great  polemical  painter,  in  consequence  of  which  he  was 
called  by  one  of  the  leading  critics  “The  Apostle  of  Peace 
and  of  Humanity.”  During  the  twenty-six  days  of  this  ex¬ 
hibition  94,892  paying  visitors  viewed  the  collection.  When 
the  same  collection  was  exhibited  at  Berlin,  the  Emperor  for¬ 
bade  the  Guards  to  visit  the  exhibition  lest  they  should 
come  to  regard  war  as  a  disgusting  rather  than  an  honorable 
exploit.  In  the  Japanese-Russian  war  he  accompanied  Ad¬ 
miral  Makaroff  on  board  the  “Petropavlovsk,”  and  went 
down  with  that  ship  when  it  was  sunk  in  the  battle  of  the 

-  —  111  ■  ' 

12 

PAINTINGS 

\  23 

24 

Sea  of  Japan,  April  13,  1904.  A  surviving  sailor  thus  de¬ 
scribes  the  scene :  “Smoke  arose  in  dense  clouds  and  flames 
seemed  to  leap  toward  the  bridge.  I  remember  falling  masts 
and  then  nothing  more.  On  our  ship  was  an  old  man  with  a 
beautiful  white  beard  who  had  been  good  to  the  men.  He 
had  a  book  in  his  hand  and  seemed  writing,  perhaps  sketch¬ 
ing.  He  was  Vereshchagin.”  His  last  picture,  entitled  “Ad¬ 
miral  Makaroff  in  Counsel  with  his  Officers,”  went  down 
with  him,  but  was  later  recovered  practically  undamaged. 
The  various  periods  of  his  activity  may  be  divided  as  fol¬ 
lows :  Early  pictures;  Caucasian  series;  Turkestan  series; 
Russo-Turkish  war  series  (to  which  belongs  the  “Snow  Pass 
of  Schipka”  in  this  collection)  ;  Indian  series  (to  which  be¬ 
longs  “Hindoos  blown  from  the  Guns,”  in  the  Affiliated 
Colleges  of  the  University  of  California)  ;  Syria  and  Pales¬ 
tine  series  (to  which  belongs  “3  he  Jews  Wailing  Place, 
Jerusalem,”  in  this  collection)  ;  Napoleonic  series;  miscella- 
neus  pictures  and  last  pictures. 

Snow  Pass  of  Schipka. 

On  canvas;  w.  2'  6J4",  h.  1'  10  j4". 

The  Jews  Wailing-Place,  Jerusalem. 

On  canvas;  w.  4'  11^4",  h.  6'  6". 

ft 

II 

DRAWINGS,  ETCHINGS 
AND  ENGRAVINGS 


DRAWINGS,  ETCHINGS 


BARTOLOZZI, 


Francesco. 


15 


This  celebrated  artist  was  the  son  of  a  goldsmith  of  Flor¬ 
ence,  where  he  was  born  in  1725.  He  was  instructed  in  draw¬ 
ing  by  Ferretti  at  Florence,  and  learned  the  art  of  engrav¬ 
ing  from  Joseph  Wagner  at  Venice.  His  first  productions 
were  some  plates  after  Marco  Recchi,  Zuccarelli,  and  others, 
engraved  while  he  was  in  the  employ  of  Wagner.  His  real 
reputation,  however,  was  made  in  England,  where  he  ar¬ 
rived  in  1764,  and  was  shortly  thereafter  appointed  en¬ 
graver  to  the  King,  at  a  salary  of  £300  a  year.  In  1768  he 
was  made  a  Royal  Academician.  His  indefatigable  energy, 
combined  with  a  highly  developed  technical  facility,  gained 
for  him  a  distinguished  rank  in  his  profession.  His  etchings, 
in  imitation  of  the  drawings  of  the  most  eminent  painters, 
admirably  represent  the  spirit  of  the  original.  He  was  as 
prolific  as  he  was  versatile  in  the  various  styles  of  engrav¬ 
ing  practiced  by  him,  and  he  left  a  prodigious  number  of 
plates,  all  of  a  high  order  of  excellence.  In  1802  Bartolozzi 
accepted  the  post  of  director  of  the  National  Academy  of 
Lisbon,  where  he  died  in  1815.  His  prints  are  highly  es¬ 
teemed  by  print  collectors  the  world  over. 

Mr.  Kemble  in  the  Character  of  King  Richard  III.  Signed : 
F.  Bartolozzi  sculpsit  ip8g. 

After  the  painting  by  W.  Hamilton,  R.  A.  Fine,  rich  proof. 

The  Grand  Masonic  Lodge  Receiving  the  Orphans. 

Engraving  after  the  painting  by  Stothard,  R.  A.  The  figures  depicted  are  all 
portraits  of  notables;  the  central  figure  leading  the  procession  of  orphans 
is  Bartolozzi.  Published  June  1,  1802,  by  Wm.  Jeffryes  &  Co.,  London. 

COCH. 

Drawing.  Classical  Composition.  Signed :  fait  par  Cock  a 
Rome. 


IOI 


102 


103 


DORE,  Louis  Christophe  Gustave  Paul. 

French  historical  painter  and  illustrator  of  books.  Born  at 
Strassburg  in  1833;  died  in  Paris  in  1883.  His  name  was 
originally  Dorer,  which  he  modified  into  the  French  equiva¬ 
lent.  In  1848,  when  but  fifteen  years  old,  he  began  to  ex- 


i6 

DRAWINGS,  ETCHINGS 

104 

hibit  at  the  Salon  landscape  sketches  in  pen  and  ink,  and  in 
the  same  year  he  became  one  of  the  regular  contributors  to 
the  Journal  pour  Rire.  During  these  years  he  contributed  a 
number  of  designs  to  various  journals  and  exhibited  pic¬ 
tures  in  the  Salon,  but  not  until  1863  did  he  command  public 
attention,  when  he  exhibited  his  painting  of  “Paolo  and 
Francesca  da  Rimini.”  In  the  Salon  of  1868  he  exhibited 
“The  Neophyte,”  after  which  he  executed  the  engraving  by 
the  same  title,  in  this  collection,  generally  regarded  as  one  of 
the  more  important  of  his  earlier  works.  He  was  a  sculptor 
as  well  as  a  painter  and  an  engraver,  and  his  ambition  was 
to  win  fame  as  a  historical  painter,  in  which  he  failed,  de¬ 
spite  marvelous  facility  of  imagination  and  wonderful  facil¬ 
ity  of  execution.  He  is  chiefly  famous  for  his  very  remark¬ 
able  illustrations  of  the  classics,  especially  Balzac,  and 
Rabelais,  but  more  particularly  by  his  designs  for  Dante’s 
“Inferno,”  which  created  a  veritable  sensation  when  they 
appeared.  His  illustrations  of  the  Bible,  Milton’s  “Paradise 
Lost,”  and  “Don  Quixote”  are  no  less  notable.  The  colossal 
vase  decorated  with  groups  of  figures,  exhibited  by  him  at 
the  Exposition  Universelle  at  Paris  in  1878,  now  installed 
before  the  Memorial  Museum  in  Golden  Gate  Park,  is  a 
characteristic  example  of  his  activities  as  a  sculptor. 

The  Neophyte.  Signed:  G.  Dore,  aquaforte. 

Etching  after  the  original  painting  by  Gustave  Done.  Published  by  the 
Dore  Gallery,  May  13,  1880,  London. 

DURER,  Albrecht. 

Born  in  Nuremberg,  May  21,  1471,  of  Hungarian  parents. 

His  father  came  from  the  little  village  of  Eytas  in  Hun¬ 
gary,  from  which  the  family  derived  its  name,  Ajtos,  signi¬ 
fying  a  door — which,  being  translated  into  German,  became 
Thiirer  or  Diirer.  His  father  practiced  the  goldsmith’s  craft 
in  Nuremberg,  where  he  settled  in  1455.  The  young  Diirer 
was  at  first  entered  as  a  goldsmith’s  apprentice  in  his  fath¬ 
er’s  shop,  which  he  left  in  i486  to  study  with  Michel  Wol- 
gemut,  then  the  foremost  painter  in  Nuremberg.  After  fin¬ 
ishing  his  three  years’  apprenticeship  with  Wolgemut,  he 

AND  ENGRAVINGS 

n 

;  traveled  four  years  in  Germany,  and  is  said  to  have  visited 
Colmar  in  1492,  where  he  went  to  make  the  acquaintance  of 
Martin  Schongauer,  only  to  arrive  shortly  after  the  latter’s 
death.  He  excelled  as  a  painter  as  well  as  an  engraver,  and 
:  is  generally  regarded  as  one  of  the  outstanding  glories  of 
the  art  of  his  period  in  Germany.  Lacking  the  rich,  sen¬ 
suous  beauty  of  the  great  masters  of  the  Italian  Renais¬ 
sance,  he  is  none  the  less  highly  esteemed  by  the  foremost 
critics,  and  his  works  are  found  in  the  leading  public  and 
private  collections  throughout  the  world. 

Saint  Hubert.  Signed  with  the  monogram,  A.  D. 

Engraving  on  copper. 

io5 

Melencolia.  Signed  with  the  monogram,  A.  D.  1514. 

Engraving  on  copper ;  very  fine  proof. 

106 

The  \  irgin  and  Child.  Signed  with  the  monogram,  A.  D. 
15I3- 

Engraving  on  copper;  fine  early  state. 

HODGES,  Charles  Howard. 

107 

Mezzotint  engraver.  Born  in  England  in  1764;  went  to 
Holland  in  1788,  where  he  resided  until  his  death,  in  Am¬ 
sterdam  in  1837.  He  was  a  painter  as  well  as  an  engraver, 
and  is  said  to  have  been  a  pupil  of  John  Raphael  Smith. 
He  painted  many  portraits  of  eminent  men  of  his  day, 
which  were  considered  excellent  likenesses,  though  not  par¬ 
ticularly  inspired. 

The  Infant  Hercules. 

Mezzotint  after  painting  by  Sir  Joshua  Reynolds,  executed  for  the  Empress 
of  Russia.  Published  by  J.  &  J.  Boydell,  March  25,  1793,  London. 

Peter  Pindar,  Esq. 

Mezzotint  after  painting  by  J.  Opie.  Published  April  13,  1787,  by  T.  Smith, 

108 

109 

CHARLES  GRIGNON  and 

WILLIAM  HOGARTH. 

GRIGNON,  Charles. 

Born  in  London  of  foreign  parentage  in  1716;  died  at  Kent- 

I  IO 


ishtown,  near  London,  in  1810.  He  was  an  engraver  who, 
besides  doing  much  independent  work,  executed  several 
notable  plates  in  collaboration  with  his  contemporaries,  such 
as  this  engraving,  made  in  conjunction  with  Hogarth,  in 
1745.  Among  his  earliest  works  were  several  plates  for  the 
celebrated  anatomical  work  by  Albins,  published  by  Knap- 
ton  in  1757*  He  was  one  of  the  committee  appointed  in  1755 
to  arrange  for  the  establishment  of  the  Royal  Academy. 

HOGARTH,  William. 

Eminent  painter  and  engraver.  Born  in  London,  in  Ship- 
court,  Old  Bailey,  December  10,  1697;  died  in  Lincolns 
Inn  Fields  October  26,  1764.  About  1712  he  was  appren¬ 
ticed  to  Ellis  Gamble,  a  silversmith,  and  at  the  expiration 
of  his  apprenticeship,  in  1718,  he  devoted  himself  to  en- 
graving,  executing  shop  bills,  visiting  cards,  and  prints  for 
books.  His  social  satires  brought  him  in  his  own  lifetime 
very  general  fame  and  plunged  him  into  many  polemics. 
His  work  is  found  in  many  private  as  well  as  most  repre¬ 
sentative  public  collections. 

Mr.  Garrick  in  the  Character  of  Richard  III. 

Engraving  after  the  painting  by  Wm.  Hogarth.  Published  June  20,  1746. 

HOLBEIN,  Hans  (The  Younger). 

Painter  and  engraver.  Born  at  Augsburg,  probably  in  1497  ; 
died  in  London  November,  1543;  son  of  Hans  Holbein  the 
Elder.  Nothing  authentic  is  known  of  his  early  training, 
though  it  is  supposed  that  he  was  the  pupil  of  his  father. 
So  much  do  the  works  of  the  son  resemble  the  father’s  that 
the  one  has  frequently  been  confounded  with  the  other.  In 
1514,  the  family  home  at  Augsburg  being  broken  up,  Hans 
and  his  brother  Ambrose  sought  their  fortunes  at  Basle, 
doubtless  attracted  thither  by  the  prospects  of  work  for  the 
great  printing  firms  whose  presses  then  made  Basle  famous 
throughout  Europe.  Some  three  hundred  drawings  have 
been  identified  as  the  products  of  Hans  Holbein  s  first  so¬ 
journ  in  Basle,  which  ended  in  1526.  Here  he  met  Erasmus, 


AND  ENGRAVINGS 


of  whom  he  painted  several  remarkable  portraits.  In  1526, 
furnished  with  letters  of  introduction  from  Erasmus,  he  ! 
journeyed  to  England,  where  he  eventually  established  him¬ 
self  as  one  of  the  King’s  painters.  Here  he  executed  some 
of  his  finest  portraits,  and  that  now  famous  set  of  red-chalk 
drawings  at  Windsor  Castle,  which  alone  would  have  as¬ 
sured  him  a  high  place  in  the  history  of  art.  His  contem¬ 
porary  fame  was  widely  spread  and  promoted  by  his  series 
of  forty-one  small  wood-cuts  known  as  “The  Dance  of 
Death,”  published  by  the  Brothers  Trechsel  of  Lyons  about 
1526.  Besides  his  work  as  a  portrait  painter  and  engraver, 
Holbein  made  numerous  designs  for  the  handicrafts,  and 
many  pages  are  preserved  at  Basle,  Berlin,  the  British 
Museum,  Chatsworth,  and  elsewhere,  with  drawings  to  be 
carried  out  by  the  goldsmith,  jeweler,  armorer,  and  book¬ 
binder.  The  last  known  drawing  by  Holbein  was  for  a  clock, 
to  be  presented  to  Henry  VIII.,  which  bears  the  date  1543, 
and  is  preserved  in  the  British  Museum. 


Portrait  of  Peter  Rusus,  Esq.,  Magistrate.  Signed:  H.  Hoi. 
fee.  Basil  MD  XX. 

A  very  interesting  and  powerful  early  drawing,  evidently  executed  with  a 
quill.  It  has  all  the  bold,  hard  forthrightness  of  a  boy’s  drawing,  approach¬ 
ing  a  wooden  severity  in  the  characterization  that  is  in  marked  contrast 
to  the  suave  and  penetrating  delineation  of  character  in  the  famous  series 
of  Windsor  drawings. 

JONES,  John. 

Mezzotint  engraver.  Born  about  1740;  died  in  1797.  He 
worked  in  London,  and  was  appointed  engraver  to  the 
Prince  of  Wales  and  the  Duke  of  York. 

Miss  Farren  and  Mr.  King. 

Stipple  after  the  original  drawing  by  J.  Donnman.  Published  by  J.  Tones, 
May  22,  1787,  Marylebone. 


Ill 


1 12 


Portrait  of  the  Honorable  Thos.  Erskine. 

Mezzotint  after  the  painting  by  Sir  Joshua  Reynolds.  Published  by  T. 
Jones,  May  6,  1786. 

LEWIS,  Frederick  Christian. 

English  engraver  and  landscape  painter.  Born  in  London 


i>£>  DRAWINGS,  ETCHINGS 


in  1779;  died  at  Enfield  1856.  Studied  with  Stadler,  a  Ger¬ 
man  engraver,  and  in  the  schools  of  the  Royal  Academy. 
He  did  original  work  as  well  as  reproductive  engravings. 
Of  the  latter  the  most  important  of  his  earliest  works  are  a 
series  of  thirteen  aquatints  of  Girtin’s  Views  of  Paris,  exe¬ 
cuted  in  1803.  He  was  engraver  to  George  IV.,  William 
IV.,  and  Queen  Victoria, 

1 1 4  Classical  Landscape,  with  Figures. 

Aquatint  after  the  original  drawing  by  Claude  Lorrain  for  the  “Liber 
Studiorum  of  Claude  Lorrain.”  Published  in  1840. 


I  15 


Classical  Landscape,  with  Dancing  Nymphs. 

Etching  after  the  original  drawing  by  Claude  Lorrain  for  the  “Liber  Stu¬ 
diorum  of  Claude  Lorrain.” 


I  l6 


Classical  Landscape.  Signed :  Claude  Rome,  i6yy. 

Aquatint  after  the  drawing  by  Claude  Lorrain  for  the  “Liber  Studiorum  of 
Claude  Lorrain.” 

LEYDEN,  Lucas  Van  ( Jacob sz  Lucas). 

Dutch  painter  and  engraver.  Born  in  Leyden  in  1494,  son 
of  Huig  Jacobsz,  an  obscure  painter;  died  at  Leyden  in 
1533.  His  first  known  works  are  some  engravings  after  his 
own  designs,  executed  at  the  age  of  nine.  He  left  the  atelier 
of  his  father  to  study  with  Cornelis  Engelbrechtsen,  and  at 
the  age  of  twelve  astonished  his  contemporaries  with  his 
picture  of  “St.  Hubert.”  In  1508,  at  the  age  of  fourteen,  he 
published  his  celebrated  print  of  the  “Monk  Sergius  killed 
by  Mahomet.”  He  is  generally  regarded  as  the  patriarch 
of  the  Dutch  school.  His  style  has  the  archaic  quality  of  the 
early  Gothic  art,  then  prevalent  throughout  Germany  and 
Flanders.  It  is  characterized  by  power  rather  than  grace, 
giving  to  most  of  his  works  an  intensity  of  feeling  border¬ 
ing  on  caricature.  One  of  his  most  important  works  as  a 
painter  is  his  triptych  of  the  “Last  Judgment”  with 
“Heaven”  and  “Hell”  on  the  side  panels,  an  immense 
composition  in  the  town  hall  at  Leyden.  He  particularly 
excelled  as  an  engraver,  working  both  on  wood  and  copper, 
though  the  woodcuts  are  not  very  numerous.  At  a  period 


AND  ENGRAVINGS 

21 

when  Albrecht  Durer  had  carried  the  art  of  engraving  to 
perfection  in  Germany  and  Marc  Antonio  in  Italy,  Lucas 
Van  Leyden  disputed  the  palm  with  those  celebrated  artists 
in  the  Low  Country.  He  learned  the  use  of  the  point  and 
graver  from  a  goldsmith,  and  carried  the  art  to  a  surprising 
degree  of  perfection,  considering  the  short  time  he  lived. 
His  style  differs  from  that  of  Diirer,  and  appears  to  have 
been  based  somewhat  on  that  of  Israel  Van  Mecheln.  Fine 
impressions  of  his  plates,  such  as  the  following,  are  very 
rare,  though  more  frequently  met  with  than  his  paintings, 
which  are  found  in  a  very  few  galleries  in  Europe. 

The  Crucifixion.  Signed:  L.  1521. 

1 17 

Very  fine  clear  proof. 

MARCHI,  Giuseppe  (Joseph)  Filippo  Liberati. 

Engraver  and  painter.  Born  in  Rome  about  1735;  died  in 
London  in  1808.  He  was  brought  to  England  in  1752  by 
Sir  Joshua  Reynolds,  by  whom  he  was  employed  as  a  gen¬ 
eral  studio  assistant.  He  engraved  a  number  of  plates  in 
mezzotint  after  paintings  by  Sir  Joshua,  among  them  the 
following : 

Portrait  of  Dr.  Goldsmith. 

h-f 

OO 

Mezzotint  after  the  painting  by  Sir  Joshua  Reynolds.  Published  by  R. 
Sayer  December  31,  1770,  London. 

MARR,  Carl.1 

American  Artist  of  the  Munich  School. 

■  Rothenburg  ob-  den  Tauber.  Pencil  Drawing.  Signed: 

I  19 

Carl  Marr. 

Rural  Architectural  Studies.  Pencil  Drawing.  Signed :  Carl 

120 

Marr. 

Costume  Study.  Middle  Ages.  Pencil  Drawing.  Signed : 

I  2 1 

Carl  Marr  ’<?y. 

Figure  Studies.  Pencil  Drawing.  Signed :  Carl  Marr  ’ 8 5. 

122 

1For  biography,  see  Painting  section. 

!  22 

DRAWINGS,  ETCHINGS 

I23 

Figure  Study  of  Woman  Pointing.  Pencil  Drawing.  Signed : 

Carl  Marr  ’85. 

124 

Rothenburg  ob.  den  Tauber.  Pencil  Drawing.  Signed:  Carl 
Marr. 

1  125 

Siena.  Pencil  Drawing.  Signed:  Carl  Marr. 

126 

Perugia.  Pencil  Drawing.  Signed:  Carl  Marr. 

MARTEAU,  Giles  de  (The  Elder). 

Born  at  Liege  in  1722.  Went  to  Paris  at  an  early  age  and 
there  acquired  considerable  reputation  as  one  of  the  most 
successful  revivers  of  the  stipple  style  of  engraving.  He  was 
elected  into  the  Academy  of  Paris  in  1764.  He  engraved  a 
number  of  plates  after  paintings  and  designs  by  some  of 
the  most  eminent  French  artists. 

;  1 27 

Venus  Crowned  by  Cupid. 

Soft  ground  etching  after  painting  by  Boucher. 

128 

Venus  Disarmed  by  Cupid. 

Soft  ground  etching  after  painting  by  Boucher. 

MERYON,  Charles. 

Sailor,  engraver,  and  etcher.  Born  in  Paris  in  1821 ;  died  of 
melancholia  in  the  asylum  at  Charenton  in  1868.  His  father, 
Charles  Louis  Meryon,  was  an  English  physician;  his 
mother,  Pierre  Narcisse  Chaspoux,  a  dancer  at  the  Opera. 

In  1837  he  entered  the  naval  school  at  Brest,  and  two  years 
later  went  to  sea,  visiting  many  foreign  countries.  In  1846  ! 

he  decided  to  adopt  the  profession  of  art,  and  in  that  year 
he  settled  in  Paris  and  became  a  pupil  of  a  painter  named  i 
Phelippes.  Owing  to  a  disease  of  the  eyes,  he  abandoned 
painting  for  engraving,  which  he  studied  in  the  atelier  of 

M.  E.  Blery,  with  whom  he  worked  six  months,  and  shortly 
thereafter  began  his  famous  series  of  etchings  of  the  streets 
of  Paris,  which  have  made  his  name  immortal  in  the  annals 
of  etching.  j 

AND  ENGRAVINGS  23 


View  of  San  Francisco.  Signed  with  the  initials  C.  M.  in  1  29 
pencil  in  left-hand  lower  corner  and  the  following  annota¬ 
tion :  2eme  epreuve  d’essai  (2nd  trial  proof). 

Etching.  Very  fine  early  impression  before  addition  of  lettering  in  center 
panel. 

OSTADE,  Adriaen  Van. 

Celebrated  and  prolific  Dutch  painter  and  engraver,  espe¬ 
cially  of  scenes  from  Dutch  peasant  life.  He  was  baptized 
at  Haarlem  on  December  10,  1610;  died  April  27,  1685. 

Studied  with  Frans  Hals  and  came  under  the  influence  of 
Adriaen  Brouwer,  with  whom  his  work  has  much  in  com¬ 
mon.  Besides  several  hundred  paintings,  water-colors,  and 
drawings,  he  executed  about  fifty  etchings,  according  to  the 
catalogue  made  by  Bartsch. 


Peasants  Singing  at  a  Window.  Signed:  A.  v.  Ostade  fecit 
et  excud. 


130 


PIRANESI,  Giambattista. 

Etcher  and  architect;  the  so-called  “Rembrandt  of  Archi¬ 
tecture.”  Born  at  Venice  in  1720;  died  in  Rome  November 
9,  1778.  He  studied  under  Valeriani,  through  whom  he  ac¬ 
quired  the  style  of  Valeriani’s  master,  Marco  Ricci  of  Bel- 
luno.  His  sound  knowledge  of  engraving  was  derived  from 
the  Sicilian  Giuseppe  Vase.  He  passed  forty  years  in  Rome, 
executing  his  memorable  series  of  architectural  engravings 
immortalizing  the  old  Roman  ruins,  then  fast  falling  into 
decay.  He  etched  nearly  two  thousand  plates,  a  small  num¬ 
ber  of  which  were  remarkable  exercises  in  imaginative 
architecture,  of  which  the  set  of  sixteen  inventions  called 
“Carceri,”  depicting  fantastic  prison  interiors  as  seen  by 
Piranesi  during  the  delirium  of  fever,  is  among  his  greatest 
achievements.  After  passing  through  many  vicissitudes  in 
the  hands  of  his  son,  his  plates  were  finally  acquired  by  the 
Royal  Calcography  at  Rome,  where  they  were  steel-faced 
and  re-bitten  to  permit  of  an  unlimited  reprinting  by  the 
Italian  Government  for  the  edification  of  tourists.  Needless 


24  DRAWINGS,  ETCHINGS 

to  say,  these  proofs,  turned  out  wholesale,  give  a  very  poor 
idea  indeed  of  the  beauty  and  power  of  Piranesi’s  original 
work,  as  may  be  seen  by  comparing  them  with  the  brilliant 
impressions  in  this  collection,  all  of  which  were  pulled  in 
Piranesi  s  lifetime  under  his  personal  supervision.  This  fact 
becomes  peculiarly  evident  when  one  examines  the  deep 
shadows  in  any  of  these  plates,  all  of  which  have  a  rich 
brilliancy  and  transparency  of  tone  which  is  strikingly  in 
contrast  with  the  muddy  opacity  of  later  impressions  made 
after  the  plates  were  rented  out  to  any  one  at  so  much  per 
day.  The  twelve  proofs  in  this  collection  are  one  and  all  un¬ 
usually  fine  early  impressions,  notable  for  their  purity  and 
brilliancy  of  line- — in  every  instance  accentuated  by  the 
most  careful  printing,  which  does  full  justice  to  the  delicate 
silvery  passages  in  the  high  lights,  as  well  as  the  richest 
velvety  blacks  in  the  shadows.  They  reveal  Piranesi  at  his 
best,  and  amply  justify  the  appellation  that  has  been  applied 
to  him — ‘'The  Rembrandt  of  Architecture.” 

13 1  J  Veduta  dell’  Arco  di  Tito.  Signed:  Cavalier  Piranesi  del  e 
inc, 

13  2  I  Veduta  del  Tempio  di  Ercole  nella  Citta  di  Cora,  dieci  mi- 
glia  lontano  da  Velletri.  Signed:  Cavalier  Piranesi  delin.  e 
inc. 

I33  |  Veduta  dell’Arco  di  Settimio  Severo.  Signed:  Cavalier  Pira¬ 

nesi  del.  e  inc. 

J34  |  Veduta  degli  avanzi  del  Tablino  della  Casa  aurea  di  Ne- 

rone  detti  volgarmente  il  Tempio  della  Pace.  Signed:  Cava¬ 
lier  Piranesi  F. 

T35  Veduta  dell’  Anfiteatro  Flavio,  detto  il  Colosseo.  Signed: 
Piranesi  F. 

T3^  Veduta  del  Pantheon  d’Agrippa  (Oggi  Chiesa  di  S.  Maria 
ad  Martyres).  Signed:  Piranesi  F. 

137  Veduta  del  Tempio  detto  della  Concordia.  Signed:  Cavalier 
Piranesi  F. 

138  Castello  S.  Angelo.  Signed:  Piranesi  Arckit.  dis.  et  inc. 


AND  ENGRAVINGS 


25 


Veduta  dell’  Arco  di  Benevento  Nel  Regno  di  Napoli,  139 

Signed :  C.  Piranesi  fece. 

Vue  des  restes  du  derriere  du  Pronaos  du  Temple  de  Nep-  I40 
tune.  Signed :  Cav.  Piranesi  F. 


Altra  Veduta  del  Tempio  della  Sibilla  in  Tivoli.  Signed: 
Piranesi  F. 


141 


Vue  interieure  du  College  suppose  des  Anfictions.  Signed: 
Cav.  Piranesi  F. 


I42 


REMBRANDT,  Harmensz  van  Rijn. 

Painter  and  etcher.  Born  at  Leyden  July  15,  1606  ( 1)  ; 
died  in  Amsterdam  October  8,  1669.  He  excelled  in  every 
branch  of  painting,  and  made  the  then  obscure  and  insig¬ 
nificant  art  of  etching  one  of  the  great  arts,  his  drawings 
being  as  significant  of  his  greatness  as  his  paintings.  His 
versatility  and  creative  fertility,  coupled  with  a  revealing 
power  of  characterization,  revivified  by  a  vigorous  imagina¬ 
tion,  made  his  art  the  outstanding  glory  of  his  epoch,  not 
only  in  Holland  but  in  the  whole  of  Europe.  After  a  brief 
eclipse  following  his  death,  his  fame  has  constantly  in¬ 
creased,  until  he  is  today  ranked  with  the  supreme  masters 
of  all  time.  As  a  painter  he  was  equally  great  in  conception 
and  execution ;  his  hand  was  the  skilful  and  sympathetic 
servant  of  a  commanding  imagination.  The  same  is  true 
of  his  etchings  ;  technically  they  are  still  unsurpassed,  while 
in  vigorous  dramatic  expression  no  one  has  yet  approached 
them. 


Christ  Healing  the  Sick  (The  Hundred-Gulden  Print). 


143 


Unusually  fine  early  impression  bought  from  the  Berlin  Museum.  Judging 
by  the  extraordinary  brilliancy  and  purity  of  line  in  the  delicate  gossamer 
web  of  the  shadowy  passages  on  the  prostrate  figures  in  the  foreground 
and  the  luminous  depth  and  richness  of  the  mysterious  black  enveloping- 
darkness  in  the  background,  as  well  as  the  crisp  purity  of  line  throughout 
this  print,  is  probably  one  of  the  first  four  impressions  pulled  from  the 
plate.  No  more  convincing  and  satisfactory  demonstration  of  his  power  as 
an  etcher  could  well  be  desired  than  this  plate,  incomparable  alike  in  con¬ 
ception  and  execution.  In  the  catalogue  of  his  works  it  stands  out,  together 
with  the  “Night  Watch,’’  “The  Anatomy  Lesson,”  “The  Syndics,”  “The 
Presentation  in  the  Temple,”  “The  Death  of  the  Virgin,”  “The  Three 
Trees,”  and  “The  Mill,”  as  among  the  supreme  examples  of  his  art.  Exe¬ 
cuted  in  1649  or  1650. 


DRAWINGS,  ETCHINGS 


26 


1 44  The  Descent  from  the  Cross. 

145  The  Death  of  the  Virgin  Mary.  Signed  :  Rembrandt  f.  idjp. 


146 


147 


An  unusually  brilliant  impression. 

Landscape  with  Figures. 

Fine,  clear  impr  ession. 

RENI,  Guido.  (Otherwise  known  as  Guido.) 

Italian  painter.  Born  in  Bologna  November  4,  1575 ;  died 
August  18,  1642.  Bolognese  school ;  pupil  of  Denis  Calvert; 
afterward  of  Carracci,  and  for  a  time  the  favorite  pupil  of 
Lodovico.  Established  himself  in  Rome  in  1608,  where  he 
soon  won  the  favor  of  the  Pope,  the  King,  and  his  entourage. 
Contemporary  and  competitor  of  Caravaggio,  who  was  in¬ 
tensely  jealous  of  him.  Executed  many  important  church 
decorations  in  Rome  as  well  as  in  Bologna.  His  art  passed 
through  three  transitional  stages,  ending  in  a  pale,  sickly 
sentimentality  that  in  some  respects  entitles  him  to  be  called 
the  precursor  of  Bouguereau.  His  works  are  found  in  almost 
every  public  gallery  in  the  world. 

The  Virgin  Enthroned. 


Pencil  study  for  one  of  his  many  versions  of  the  Madonna. 


REYNOLDS,  Samuel  William. 

Mezzotint  engraver  and  landscape  painter.  Born  in  London 
in  1773;  died  at  Bayswater  August  13,  1835.  Studied  with 
Charles  Howard  Hodges,  and  is  also  believed  to  have  been 
a  pupil  of  John  Raphael  Smith.  The  earliest  known  plate 
by  him  is  a  portrait  of  George,  Prince  of  Wales,  dated  1794* 
His  work  is  characterized  by  high  artistic  excellence  as  well 
as  great  technical  skill.  He  was  an  etcher  as  well  as  a  mez- 
zotinter,  and  a  most  accomplished  stipple  and  aquatint  en¬ 
graver,  and  frequently  combined  these  various  techniques 
in  one  plate.  He  was  a  very  prolific  and  industrious  worker ; 
his  mezzotints  alone  numbering  over  three  hundred  plates, 
in  addition  to  the  series  of  357  small  mezzotint  reproduc¬ 
tions  after  all  the  then  accessible  paintings  of  Sir  Joshua 
Reynolds.  Both  Samuel  Cousins  and  David  Lucas  studied 
with  him,  as  well  as  Georges  Maile  in  Paris,  where  his  work 
exerted  a  strong  influence  on  the  French  artists  of  the  day. 


AND  ENGRAVINGS 

27 

Garrick  in  the  Character  of  Abel  Drugger. 

Mezzotint  after  the  painting  by  J.  Zoffany.  Published  by  Messrs.  Colnaghi 
&  Co.,  March  3,  1825,  Pall  Mall,  London. 

ROSA,  Salvator. 

Italian  painter,  poet,  etcher,  actor,  and  singer.  Born  at  Re- 
nella,  near  Naples,  in  1615;  died  at  Rome  in  1673.  Of 
turbulent,  romantic  temperament,  his  career  was  filled  from 
beginning  to  end  with  unusual  adventures  that  included  in 
his  youth  an  alliance  with  a  body  of  banditti  who  infested 

I  the  Abruzzi.  To  this  experience  may  be  traced  many  of 
those  robber  pictures  which  so  especially  distinguish  this 
artist.  His  whole  life  was  characterized  by  impetuous  disre- 
!  gard  of  conventions  that  kept  him  from  affiliating  himself 
with  any  particular  school,  and  consequently  prevented  the 
j  early  recognition  due  his  talent.  His  early  years  were  op- 
pressed  by  want  and  privation,  and  his  first  pictures  were 
exposed  for  sale  in  the  streets  of  Naples,  where  his  “Hagar” 
attracted  the  attention  of  Lanfranco  and  brought  him  into 
i  notice.  This  was  the  means  of  gaining  him  the  friendship 
of  Aniello  Falcone,  one  of  the  best  pupils  of  Spagnoletto, 
the  great  painter  of  battle-scenes.  After  achieving  local  suc¬ 
cess,  he  visited  Rome  in  1634,  where  he  achieved  his  first 
real  triumph  with  the  decorations  for  the  portico  and  loggia 
of  the  Cardinal’s  Palace  at  Viterbo.  This  led  to  a  commis¬ 
sion  to  paint  his  great  picture  “Prometheus,”  which  gained 
him  a  very  considerable  reputation,  although  not  sufficient, 
however,  to  command  the  much-coveted  official  approval  of 
the  Academies.  Impatient  of  this  neglect  and  indifference  of 
officialdom,  he  impetuously  threw  aside  his  palette  during 
the  Carnival  of  1639  and  appearing  as  poet,  singer,  and 
actor  he  found  all  Rome  at  his  feet.  From  then  on  his  per¬ 
sonality  commanded  the  admiring  attention  of  all  Italy,  and 
his  life  thenceforth  was  filled  with  a  series  of  dramatic 
events,  culminating  in  his  participation  in  the  Revolution  in 
Naples,  where  he  joined  the  forces  of  Masaniello.  After  the 
death  of  Masaniello  and  the  close  of  the  Revolution,  he 
returned  to  Rome,  where  he  was  threatened  with  trial  by 

1— 1 

4s- 

00 

28 

DRAWINGS,  ETCHINGS 

the  Inquisition  for  his  paintings  “La  Fortuna”  and  “L’Um- 
ana  Fragiiiata,”  which  he  escaped  by  fleeing  in  the  train  of 
Prince  Giovanni  Carlo  de’  Medici  to  Florence,  where  he  was 
received  in  triumph.  Upon  returning  to  Rome  after  an  ab¬ 
sence  of  many  years,  he  alone  of  living  artists  was  allowed 
to  exhibit  his  pictures.  Flis  etchings  number  some  forty 
plates,  of  which  the  following  is  an  excellent  example.  His 
paintings  are  found  in  leading  public  galleries  throughout 
the  world. 

1 49 

Polycrates  Sami  Tyraness,  opibus  et  felicitate  inclytus,  ab 
Orete  Perfarum  Satrapa  captus,  ac  cruciaffixus  docuit,  ne- 
minem  ante  obitum  merito  did  posse  felicem.  Signed :  Sal¬ 
vator  Rosa  Inu.  Pinx.  seal. 

Etching. 

150 

RUBENS,  Peter  Paul  (School  of  Rubens). 

Battle  of  Constantine. 

Pen-and-ink  drawing.  One  of  twelve  cartoons  designed  by  Rubens  for  a 
series  of  twelve  tapestries  celebrating  “The  History  of  Constantine,”  now 
in  the  Garde-Meuble,  Paris.  This  drawing  was  probably  executed  by  one 
of  his  many  pupils  after  original  sketches  by  himself. 

SMITH,  John  Raphael. 

Painter  and  mezzotint  engraver.  Born  in  1752.  Son  of 
Thomas  Smith  of  Derby,  the  landscape  painter ;  died  at 
Doncaster  in  1812.  He  was  a  man  of  amiable  and  generous 
temperament  who  gave  his  advice  and  assistance  freely  to 
friends  and  colleagues,  helping  George  Moreland  on  many 
of  his  paintings,  besides  making  the  world  acquainted  with 
Chantry’s  abilities.  For  a  time  he  traveled  about  the  country 
as  an  itinerant  portrait  painter.  His  engraved  plates  number 
about  150,  of  which  the  following  is  a  characteristic  example. 

1 5 1 

Miss  Younge,  Mr.  Dodd,  Mr.  Love,  and  Mr.  Waldron  in 
the  characters  of  Viola,  Sir  Andrew  Aguecheek,  Sir  Toby 
Belch,  and  Fabian. 

Mezzotint  after  the  painting  by  Francis  Wheatly.  Published  by  Robert 
Sayer,  March  1,  1774,  London. 

CALDWALL,  James. 

English  designer  and  engraver;  pupil  of  Sherwin.  Born  in 

AND  ENGRAVINGS 


London  in  1739.  His  work  is  characterized  by  great  techni¬ 
cal  brilliancy.  He  engraved  several  plates  in  collaboration 
with  S.  Smith,  and  others,  in  co-operation  with  Grignon. 

SMITH,  Samuel. 

Engraver.  Born  in  London  about  1745.  Made  a  specialty  of 
landscapes,  occasionally  collaborating  with  other  engravers, 
as  indicated  in  the  following. 

Immortality  of  Garrick. 

Engraving  after  G.  Carter.  The  figures  engraved  by  J.  Caldwall,  and  the 
landscape  background  by  S.  Smith.  Published  by  G.  Carter,  January  20, 
1783,  London. 

SMITH,  Joseph  Lindon. 

American  painter,  sculptor,  lecturer,  and  teacher.  Born  Oc¬ 
tober  11,  1863,  in  Pawtucket,  R.  I.  Studied  in  the  Boston 
Museum  School  and  in  the  Julian  Academy  in  Paris. 
Member  of  many  art  societies  and  the  recipient  of  several 
honors.  Executed  mural  paintings  in  Boston  Public  Library 
and  Horticultural  Hall,  Philadelphia.  Made  copies  in  Italy, 
Egypt,  and  Turkey  for  museums,  of  which  the  following  are 
representative  examples : 

Aboo  Simbel.  Signed:  Joseph  Lindon  Smith  i8gg. 

Water-color  drawing. 

Temple  Ruins.  Signed:  Joseph  Lindon  Smith  i8gg. 

Water-color  drawing. 

Aboo  Simbel,  No.  2.  Signed:  Joseph  Lindon  Smith  i8gg. 

WARD,  James. 

English  animal  painter  and  engraver.  Born  in  Thames 
street,  London,  October  23,  1769;  died  in  Cheshunt  Novem¬ 
ber  23,  1859.  He  began  the  study  of  engraving  at  an  early 
age,  working  under  John  Raphael  Smith  for  a  short  time, 
then  serving  an  apprenticeship  of  nine  years  to  his  elder 
brother,  William  Ward.  He  made  his  reputation  at  an  early 
age,  and  was  appointed  painter  and  mezzotint  engraver  to 
the  Prince  of  Wales  in  1794.  He  was  a  frequent  contributor 


30 

DRAWINGS,  ETCHINGS 

i56 

to  the  exhibitions  of  the  Royal  Academy  and  won  a  consid¬ 
erable  reputation  as  an  animal  painter.  Elected  an  A.  R.  A. 
in  1807  and  full  Academician  in  1811.  His  paintings  are 
found  chiefly  in  English  galleries,  while  his  plates  are  in 
most  of  the  important  print  collections  throughout  the  world. 

Portrait  of  Richard  Burke. 

Mezzotint  after  the  painting  by  Sir  Joshua  Reynolds.  Published  by  Messrs. 
Wards  &  Co.,  London. 

157 

WATSON,  James. 

An  English  mezzotint  engraver.  Born  in  Ireland  about 
1740 ;  brother  of  William  Watson,  the  portrait  painter,  and 
father  of  Caroline  Watson,  the  mezzotint  engraver.  Died  in 
London  in  1790. 

Portrait  of  a  Gentleman. 

Mezzotint  after  the  painting  by  Sir  Joshua  Reynolds. 

I58 

WATSON,  Thomas. 

English  mezzotint  engraver.  Born  in  London  in  1743;  died 
at  Bristol  in  1781.  His  first  works  were  executed  in  stipple. 
For  a  time  he  kept  a  print-shop  in  Bond  street  in  partner¬ 
ship  with  W.  Dickenson.  He  became  very  successful  as  a 
mezzotint  engraver,  executing  many  notable  plates,  of  which 
the  following  is  a  typical  example. 

Portrait  of  David  Garrick,  Esq. 

Mezzotint  after  the  painting  by  Sir  Joshua  Reynolds.  Published  March  18, 
1779,  London. 

WHISTLER,  James  Abbott  McNeill. 

American  painter,  etcher,  and  lithographer.  Born  at  Lowell, 
Massachusetts,  in  1834;  died  at  Chelsea,  in  London,  in 
1903.  Lived  in  Russia  from  eighth  to  fifteenth  year.  Re¬ 
turned  to  America  in  1849;  entered  West  Point  in  1851,  but 
was  not  graduated;  was  connected  with  the  Coast  Survey  in 
Washington  for  a  brief  time ;  went  to  England  in  1855,  and 
shortly  thereafter  moved  to  Paris,  where  he  studied  under 
Glyer.  Exhibited  publicly  for  the  first  time  in  the  Royal 

AND  ENGRAVINGS 


Academy  of  1859  ;  removed  to  London  in  1863.  Was  a  mem¬ 
ber  of  various  continental  art  societies,  as  well  as  being  the 
first  president  of  the  International  Society  of  Sculptors, 
Painters,  and  Gravers,  and  for  a  time  president  of  the  Royal 
Society  of  British  Artists.  He  was  the  recipient  of  many 
distinguished  honors,  awards,  and  medals,  and  is  repre¬ 
sented  in  important  private  and  public  collections  through¬ 
out  the  world.  He  is  generally  regarded  as  one  of  the  great¬ 
est  etchers  since  Rembrandt,  the  only  one  whose  work  com¬ 
petes  with  that  of  the  great  Dutchman  in  diversity  of  sub¬ 
ject-matter  and  treatment.  Certainly  no  one  since  Rembrandt 
has  practiced  the  art  of  aqua  fortis  with  the  same  fastidious 
attention  to  every  detail,  and  none  have  equaled  him  in  the 
personal  quality  of  his  work.  The  proofs  pulled  by  him  per¬ 
sonally  have  a  value  unique  in  the  history  of  engraving. 
Among  the  following  are  some  of  the  finest  proofs  ever 
pulled  by  him  from  these  plates: 

Becquet. 

One  of  the  sixteen  etchings.  Kennedy  52 — M  52 — W  48.  Third  state. 

The  Adam  and  Eve  Tavern,  Old  Chelsea  (Thames  Series). 

Kennedy  175— M  172— W  144.  Second  state. 

The  Palaces  (Venetian  Series).  Signed  in  pencil  with  the 
butterfly  signature. 

One  of  the  twelve  etchings.  Kennedy  187 — -M  184 — W  153.  Second  state. 

The  Traghetto  (Venetian  Series).  Signed  in  pencil  with  the 
butterfly  signature. 

One  of  the  twelve  etchings.  Kennedy  191— M  188— W  156.  Fifth  state. 

The  Mast  (Venetian  Series).  Signed  in  pencil  with  the  but¬ 
terfly  signature. 

One  of  the  twelve  etchings.  Kennedy  195- — M  192 — W  160.  Fifth  state. 

The  Bridge  (Venetian  Series).  Signed  in  pencil  with  the 
butterfly  signature. 

One  of  the  twenty-six  etchings.  Kennedy  204 — M  201— W  171.  Eighth 
state. 

The  Mill  (Dutch  Series).  Signed  in  pencil  with  the  butter¬ 
fly  signature. 

Kennedy  413 — M  415.  Fifth  state. 


3 1 


159 

160 

161 

162 

163 

164 

165 


32 

DRAWINGS,  ETCHINGS 

WOLF,  Henry. 

American  wood  engraver.  Born  in  Eckwersheim,  Alsace, 
August  3,  1832;  died  March  18,  1916,  in  New  York  City. 
Studied  with  Jacques  Levy  in  Strassburg;  came  to  New 
York  in  1871 ;  was  one  of  the  most  brilliant  exponents  of 
the  now  famous  American  School  of  Wood  Engraving.  His 
work  is  characterized  by  richness  as  well  as  subtlety  of  tone, 
and  is  executed  with  great  vigor  as  well  as  delicacy.  He  was 
the  honored  member  of  many  art  societies  at  home  and 
abroad  and  the  recipient  of  numerous  medals  and  awards, 
culminating  in  the  Grand  Prize  awarded  him  by  the  Pan¬ 
ama-Pacific  International  Exposition,  San  Francisco,  1915. 

i  166 

Open  Air  Meeting.  Signed  in  pencil :  Henry  W olf,  1891. 

After  Adolph  Menzel.  One  of  his  most  brilliantly  successful  translations 
of  color  into  black  and  white.  The  incomparable  certainty  and  sparkling 
vivacity  with  which  the  infinite  detail  of  figures  and  foliage  is  rendered 
in  this  plate  marks  him  as  one  of  the  greatest  wood-engravers  of  modern 
times.  Moreover,  this  is  a  particularly  fine,  rich  proof,  exquisitely  printed, 
bringing  out  the  wealth  of  subtly  modulated  tonalities. 

167 

Mrs.  Griffith.  Signed  in  pencil:  Henry  Wolf,  sculpt.  1899. 

After  Gilbert  Stuart. 

168 

Bonaparte  before  the  Sphinx.  Signed  in  pencil :  Henry  Wolf, 

sculpsit,  1889. 

After  Jean  Leon  Gerome. 

;  169 

The  Music  Room.  Signed  in  pencil:  Henry  Wolf,  sculpt. 
1910. 

After  Whistler;  fine, rare  proof. 

170 

The  Fur  Jacket.  Signed  in  pencil:  Henry  Wolf,  sculpt. 
1910. 

After  Whistler. 

The  Gold  Fish.  Signed  in  pencil:  Henry  Wolf,  sculpt. 
1912. 

After  H.  S.  Hubbell. 

172 

Portrait  of  a  Lady.  Signed  in  Pencil:  Henry  Wolf,  sculpt. 
1905. 

After  J.  J.  Shannon. 

AND  ENGRAVINGS 

33 

Alone  in  the  World.  Signed  in  pencil:  Henry  Wolf  sculpt. 
1894,  and  autographed  by  Josef  Israels. 

After  Josef  Israels. 

i73 

Mrs.  Champion  de  Crespigny.  Signed:  Henry  Wolf , sculpt. 
1905. 

After  G.  Romney. 

174 

A  Spanish  Countess.  Signed:  Henry  Wolf,  1907. 

After  Goya. 

i75 

The  Green  Bodice.  Signed:  Henry  Wolf  1899,  and  auto¬ 
graphed  by  J.  Alden  Weir. 

After  J.  Alden  Weir. 

176 

Don  Balthazar  Carlos.  Signed  in  pencil:  Henry  Wolf, 
sculpt.  Dated  on  plate:  Apr. -May  1908. 

After  Velazquez;  fine,  rich  proof. 

177 

Self  Portrait:  Lenbach.  Signed  in  pencil:  Henry  Wolf,  Oc¬ 
tober  jth,  189 5. 

After  Lenbach. 

178 

Robert  Louis  Stevenson.  Signed  in  pencil:  Henry  Wolf. 
Dated  on  plate  :  1909. 

Original  engraving,  after  photograph;  rare  proof. 

J79 

The  Roadside.  Signed  in  pencil:  Henry  Wolf,  sculpt. 

After  Gifford. 

180 

The  Duck  Pond.  Signed  in  pencil:  Henry  Wolf,  invt.  delt. 

&  sculpt. 

Original  painter-engraving;  Wolf’s  own  composition. 

181 

River  Scene.  Signed  in  pencil:  Henry  Wolf,  sculpt. 

After  Corot;  very  delicate  proof. 

182 

The  Harp  of  the  Winds.  Signed  in  pencil:  Henry  Wolf, 
sculpt.  1900. 

After  Homer  D.  Martin. 

183 

The  Road  to  the  Village.  Signed  in  pencil:  Henry  Wolf, 
1896. 

After  Cazin. 

184 

34 

DRAWINGS,  ETCHINGS 

J-H 

oo 

Morning  Mists.  Signed  in  pencil:  Henry  Wolf,  invt.  delt. 

&  sculpt.  1907. 

Original  painter-engraving;  Wolf’s  own  composition.  One  of  his  rare  ex¬ 
cursions  into  the  field  of  original  composition.  Very  beautiful  proof. 

1 86 

Boy  with  a  Sword.  Signed  in  pencil :  Henry  W olf,  sculpt. 
Dated  on  plate  :  1908. 

After  Manet. 

1  187 

Abraham  Lincoln.  Signed  in  pencil:  Henry  Wolf,  N.A. 
sculpt.,  Aug. -Sept.  1912. 

Original  engraving,  after  photograph. 

188 

A  Lady  in  Black.  Signed  in  pencil :  Henry  W olf,  1910. 

After  William  M.  Chase. 

189 

Eight  Bells.  Signed:  Henry  Wolf,  sculpt.  1894. 

After  Winslow  Homer. 

190 

Judge  Jones.  Signed:  Henry  Wolf  sculpt.  1899. 

After  Gilbert  Stuart. 

I9I 

Portrait  of  a  Lady.  Signed  in  pencil:  Henry  Wolf  sculpt. 
1907. 

After  Robert  Henri.  Beautiful,  rich  proof. 

I  192 

Angel  with  Flaming  Sword.  Signed  in  pencil :  Henry  Wolf 
1892,  and  autographed  by  Edwin  Howland  Blashfield. 

After  E.  H.  Blashfield. 

193 

Thomas  Jefferson.  Signed  in  pencil:  Henry  Wolf  sculpt. 
1901. 

After  Charles  Wilson  Peale.  (Portrait  is  at  Independence  Hall,  Philadel¬ 
phia.) 

194 

Lower  New  York  in  a  Mist,  as  seen  from  a  Pennsylvania 

R.  R.  Boat.  Signed  in  pencil:  Henry  Wolf,  N.  A.  fecit. 

Original  painter-engraving;  Wolf’s  own  composition. 

hH 

VO 

'v>-l 

The  Mirror.  Signed  in  pencil:  Henry  Wolf  sculpt.  1896, 
and  autographed  in  pencil  by  John  W.  Alexander. 

After  John  W.  Alexander. 

196 

Lady  with  a  Lute.  Signed:  Henry  Wolf,  sculp.  1909. 

After  Vermeer. 

AND  ENGRAVINGS 


35 


Portrait  of  the  Engraver.  Signed:  Henry  Wolf,  ipse  sculp- 
sit  1905. 

After  Wiles. 

197 

Miss  Alexander.  Signed  in  pencil:  Henry  Wolf,  sculpt. 
1907. 

After  Whistler. 

198 

Beatrice  d’Este.  Signed  in  pencil :  Henry  Wolf  sculpt.  Aug.- 
Sept.  1907. 

After  Da  Vinci. 

199 

Young  Woman  at  the  Window.  Signed  in  pencil:  Henry 
W olf,  sculpsit  1908. 

After  Vermeer.  (Original  in  Metropolitan  Museum,  New  York.) 

200 

A  Virgin  Enthroned.  Signed:  Henry  Wolf,  sculpt.  1893. 

After  Abbott  H.  Thayer. 

201 

The  Shipwrecked  Sailor.  Signed:  Henry  Wolf,  New  York, 
1889. 

After  Howard  Pyle. 

202 

Ill 

TAPESTRIES 


T he  Sleigh  Ride  ( French  Tapestry ) 

Late  XI’II I .  Century 


INTRODUCTION 

IN  the  romantic  gossip  of  the  history  of  the  Middle  Ages,  tapestry 
again  and  again  plays  the  leading  role.  That  it  could  conceal  trai¬ 
torous  spies  we  know  from  Hamlet;  but  such  an  office  was  by  no 
means  its  only  contribution  to  the  stories  of  the  nations.  It  served  to 
make  impressive  the  occasion,  and  easier  the  diplomacy  in  the  peace 
between  France  and  England  in  1393.  For,  in  preparation  for  the  con¬ 
ference  at  Lilingien,  Philip  the  Hardy  of  Burgundy  spread  out  the 
greatest  of  his  great  collections  of  hangings,  and  to  well  dispose  Lan¬ 
caster  and  Gloucester  and  the  other  English  dukes,  he  was  lavish  with 
his  gifts  of  fine  pieces.  But  tapestry  usually  had  less  serious  parts  to 
play.  In  the  fetes  of  such  extravagant  kings  as  the  young  Louis  XL  it 
was  always  an  important  addition  to  the  gorgeous  display,  and  time 
and  again  it  was  a  wedding  present  from  monarch  to  monarch. 

Such  and  many  more  are  the  tales  in  which  tapestry  appears,  always 
tales  of  royalty ;  for  tapestry,  except  the  home-loom  peasant  pieces,  is 
the  aristocratic  art,  the  indulgence  only  of  kings  and  wealthy  nobles. 
But  tapestry  does  not  have  to  depend  on  this  royal  gossip  for  its  inter¬ 
est  and  importance.  It  has  a  charm  and  a  value  of  its  own.  It  can  and 
should  stand  on  its  own  merits  as  an  independent  art.  To  do  this,  how¬ 
ever,  it  must  maintain  a  complete  independence  not  only  of  the  acci¬ 
dents  of  history  but  of  its  sister  arts,  too.  It  cannot  attain  its  full 
worth  while  it  is  a  mere  satellite.  Yet  this  is  what  tapestry  has  been 
in  danger  of  becoming  for  the  last  three  hundred  years,  simply  the 
shadow  and  the  imitator  of  painting.  Since  the  seventeenth  century 
our  tapestries  have  really  been  in  large  part  nothing  but  woven  paint¬ 
ings,  and  so  they  have  been  artistically  poor.  For  the  principles  which 
tapestry  involves  differ  from  those  of  painting.  Tapestry  must  express 
its  own  principles  in  its  designs. 

In  the  first  place,  tapestry,  even  when  pictorial,  is  a  decorative  art. 
Every  inch  of  its  surface  is  a  space  to  adorn,  to  make  rich  and  color¬ 
ful.  So  it  does  not  demand,  does  not  even  permit,  the  high  centraliza¬ 
tion  of  a  painting.  In  a  painting  we  must  have  a  focal  point  to  which 


40  INTRODUCTION:  TAPESTRIES 


everything  is  subordinated.  In  a  tapestry,  though  we  may  focus  the 
interest  at  one  point,  it  must  not  be  done  at  the  expense  of  the  rest  of 
the  tapestry.  Each  part  claims  attention  and  decoration,  and  the  whole 
must  form  one  richly  interlaced  design,  full  and  opulent. 

Moreover,  not  only  must  the  focus  of  a  tapestry  be  less  emphasized 
than  that  of  a  painting,  it  must  also  be  differently  placed.  For  a 
painting  is  to  be  hung  up  on  the  wall,  its  centre  of  interest  adapted  to 
the  line  of  vision.  But  a  tapestry  is  primarily  to  cover  the  whole  wall, 
and  the  bottom  near  the  floor  may  often  be  obscured  by  furniture  or 
people.  The  most  interesting  part,  therefore,  has  to  be  high  up  on 
the  fabric  where  it  can  always  be  easily  seen.  So  the  centre  of  a  tapes¬ 
try  design  comes  nearer  the  top  of  the  hanging  than  is  usual  in  a 
painting. 

Further,  because  tapestry  is  such  a  rich  opportunity  for  decoration, 
its  beauty  will  be  largely  a  beauty  of  detail.  Lovely  ornamentation 
on  robes  and  armor,  finely  wrought  flowers,  and  elaborately  designed 
architecture  give  it  its  wealth  and  interest.  Enveloping  atmosphere, 
impressionistic  massing,  suggestive  blurring,  these  deprive  tapestry 
of  one  of  its  most  characteristic  values,  the  value  of  crisp  detail. 

Atmosphere  and  impressionism  can,  perhaps,  never  be  successfully 
introduced  into  tapestry.  It  is  essentially  an  art  of  decorative  design 
that  will  depend  on  lines  skilfully  drawn  and  harmoniously  combined, 
quite  as  much  as  on  color.  To  lose  the  outline  is  to  lose  an  important 
ornamental  factor.  Clarity  is  part  of  its  charm. 

Moreover,  atmosphere  is  unfit  in  tapestry  because  it  at  once  intro¬ 
duces  an  element  of  distance,  and  we  do  not  want  much  perspective  in 
tapestry.  It  is  (I  am  excepting,  of  course,  furniture  tapestries)  a  wall¬ 
covering  made  to  lend  greater  richness  and  security  to  our  houses — to 
increase  the  sense  of  inclusiveness  in  a  room.  To  open  the  design  out 
into  remote  vistas  is  to  defeat  this  end.  Perspective  in  a  tapestry  makes 
a  hole  in  our  wall,  and  leads  us  out  beyond  our  room  instead  of  en¬ 
riching  it. 

And,  too,  because  tapestry  is  a  wall-hanging,  and  so  primarily  a 
flat  surface,  we  do  not  want  much  modeling  in  our  tapestry  figures. 


INTRODUCTION:  TAPESTRIES  41 


Not  realism  in  any  sense  but  decoration  is  our  aim.  Living  fleshly 
looking  people  seem  out  of  place  imprisoned  in  the  weave.  Leave  to 
painting  the  modeled  figures  in  relief.  Let  tapestry  eschew  them. 

We  want  to  get  from  tapestry  a  feeling  of  luxuriousness  that  comes 
to  us  equally  from  the  color  and  from  the  texture  of  the  weave.  So  we 
want  full  glowing  colors,  colors  of  substance  and  of  character.  We 
want,  too,  a  design  that  will  enable  us  to  appreciate  the  quality  of  the 
textile.  The  distinctive  feeling  of  tapestry  is  an  important  element  in 
its  sumptuousness.  And  it  should  not  be  necessary  to  touch  the  fabric 
in  order  to  feel  it.  The  appearance  of  the  surface  should  carry  with  it 
the  sense  of  the  texture.  So  it  is  that  tapestry  to  be  good  should  not  be 
too  fine.  It  is  more  skilful  weaving  to  have  forty-five  warp  threads  to 
the  inch  ;  but  it  is  almost  certain  to  make  more  beautiful  tapestry  if  we 
have  only  twenty  or  fewer. 

Because  decorative  sumptuousness  is  the  aim  of  tapestry,  there  are 
limits  to  its  fit  subjects.  Not  any  story  that  can  be  painted  can  equally 
well  be  woven.  Tragedy,  horror,  or  high  abstract  ideas  do  not  dwell 
comfortably  with  luxuriousness.  Rich  decorations  seek,  not  profundity 
or  solemnity,  but  romance.  There  may  be  great  nobility  in  tapestry, 
but  even  in  designs  drawn  from  religion  it  does  not  well  convey  high 
seriousness. 

Such  are  the  differences  between  tapestry  and  painting.  Tapestry 
can  afford  to  be  less  centralized ;  it  does  not  profit  by  perspective  at¬ 
mosphere  and  modeling,  and  it  sustains  a  richer  but  lighter  mood.  It 
is  essential  to  recognize  these  differences  between  the  two  arts,  not  only 
in  the  designing  of  tapestry,  but  in  the  use  of  it.  There  is  no  greater 
mistake  than  to  treat  a  tapestry  like  a  painting  and  frame  it.1  Tapestry 
is  not  meant  to  be  stretched  taut;  it  is  meant  to  he  hung  in  loose  free 
folds.  The  only  frame  it  needs  is  its  own  woven  border.  To  supplant 

1lVhile  agreeing  fully  with  the  foregoing,  it  has  none  the  less  been  found  necessary  to 
frame  the  -five  specimens  of  Aubusson  tapestry-weaving  exhibited  in  this  collection,  as 
these  are  fragments  of  two  tapestries  cut  up  into  several  pieces  to  serve  as  panel  deco¬ 
rations  in  the  palace  from  which  they  were  obtained,  and,  being  minus  one  of  the  parts 
necessary  to  restore  the  integral  character  of  the  original  design,  as  well  as  the  border 
which  enclosed  that  design,  it  was  thought  best  to  frankly  indicate  by  means  of  frames 
that  these  pieces  had  been  employed  as  panels. — Director. 


42  INTRODUCTION:  TAPESTRIES 


that  by  carving  and  gilt  is  to  take  from  the  weaver  one  of  his  greatest 
opportunities  for  opulence  and  freedom  of  invention.  The  border 
should  be  an  integral  part  of  the  tapestry,  completing  its  design  with 
a  wealth  of  fine  decorative  detail. 

The  fundamental  reason  for  the  necessity  of  a  difference  between 
painting  and  tapestry  design  is  the  differences  in  the  technique  of  the 
two  arts.  The  technical  process  should  always  control  the  design  in 
any  art.  If  you  violate  your  medium,  you  destroy  your  effect.  And  you 
destroy,  too,  your  specific  value,  for  that  in  every  case  is  derived  from 
material  and  method.  The  effect  and  value  of  tapestry,  therefore,  de¬ 
pend  upon  its  flat,  even,  flexible  surface  and  its  color  range.  These  are 
its  great  opportunities,  and  with  due  appreciation  of  them  it  can  achieve 
great  things. 

It  can  achieve  astonishingly  great  things  in  view  of  the  simplicity 
of  the  technical  process  on  which  they  are  based.  For  the  method  of 
tapestry  is  very  simple.  It  is  one  of  the  oldest  and  most  obvious  kinds 
of  weaving.  The  warp  or  chain  is  stretched  on  a  rectangular  frame, 
the  weft  threads  on  a  shuttle  are  passed  by  hand  first  over  one  set  of 
alternating  threads,  then  under  the  same  set  back  and  forth  until  sev¬ 
eral  threads  are  woven,  then  a  coarse-toothed  comb  is  used  to  push  the 
weft  thread  close  together,  so  that  the  warp  is  completely  covered. 
Thus  the  weft  passes  by  regular  alternating  weave  through  the  warp, 
usually  at  right  angles  to  it,  and  completely  covers  it.  The  design  is 
made  by  using  different  colors  of  weft  threads,  and  is  thus  an  integral 
part  of  the  web,  in  contrast  with  embroidery,  in  which  the  design  is 
added  to  an  already  completed  web. 

The  tapestry  loom  is  very  ancient.  It  appears  in  an  Egyptian  paint¬ 
ing  of  about  3000  B.  C.,  and  again  on  a  Greek  vase  of  400  B.  C. 
From  these  examples  down  to  the  present  day  the  principle  has  re¬ 
mained  unchanged,  though  the  exact  form  of  the  loom  varies.  In  the 
simplest  type  the  threads  of  the  warp  are  fixed  to  a  bar  and  allowed 
to  hang,  each  thread  weighted  at  the  bottom  to  make  it  fall  straight. 
In  other  instances,  a  horizontal  bar  is  at  the  bottom  as  well  as  the  top, 
taking  the  place  of  the  weights. 


404 


T he  History  of  Conolanus — No.  1 

Paris;  Early  XVII.  Century 


4°5 


The  History  of  Conolanus — No.  II. 

Paris;  Early  XVII.  Century 


INTRODUCTION:  TAPESTRIES  43 


In  modern  looms  the  warp  is  attached  to  rollers,  so  that  the  com¬ 
pleted  tapestry  can  be  rolled  up  and  thus  the  weaving  facilitated.  To 
further  facilitate  weaving,  each  thread  of  the  warp  is  passed  through 
a  loop  which  is  attached  to  either  one  of  two  bars  in  such  a  way  that 
by  lifting  the  one  bar  the  first,  third,  fifth,  etc.,  threads  are  advanced  so 
that  the  shuttle  can  pass  behind  them,  after  which  the  other  bar  lifts 
the  second,  fourth,  sixth,  etc.,  threads  so  that  the  shuttle  can  then  pass 
behind  those — that  is,  in  front  of  the  first  set  of  threads.  Thus  the 
alternating  weave  typical  of  tapestry  results.  The  whole  loom  may 
either  stand  upright,  the  high  loom,  or  haute  lisse,  or  may  rest  hori¬ 
zontally,  the  low  loom,  or  basse  lisse.  Tradition  favors  the  weave  of 
haute  lisse ,  but  it  is  almost  impossible  even  for  the  expert  to  distin¬ 
guish  the  product  of  the  one  from  the  other.  The  low  warp  loom  has 
the  advantage  of  greater  rapidity,  as  the  warp  threads  can  be  lifted 
by  a  treadle  operated  with  the  foot,  and  so  the  hands  are  both  free  to 
control  the  shuttle.  With  both  the  haute  lisse  and  the  basse  lisse  the 
weaver  works  from  the  back  of  the  tapestry,  depending,  with  the  basse 
lisse,  on  a  mirror  to  see  the  front  of  his  work.  Of  course,  with  the 
haute  lisse  he  can  walk  around  to  the  other  side  of  his  loom  and  see 
what  he  has  done. 

The  pattern  of  a  tapestry  is  always  painted  first  in  full  size  on 
linen  or  paper.  In  haute  lisse  weaving  this  cartoon  hangs  in  back  of 
the  weaver  so  he  can  refer  to  it.  Usually  he  traces  the  outlines  of  the 
design  on  his  warp  threads  to  aid  in  the  reproduction.  In  basse  lisse 
the  tracing  is  not  necessary,  for  the  cartoon  is  laid  under  the  warp 
threads,  and  the  weaver  thus  follows  it  directly,  much  as  a  child  fol¬ 
lows  the  picture  he  is  tracing  on  transparent  paper. 

With  this  simple,  almost  primitive  technique  the  skilful  weaver  can 
produce  many  rich  and  varied  patterns.  There  are  three  general  types 
of  designs  adapted  to  the  craft,  and  each  permits  of  unlimited  fertil¬ 
ity  of  invention.  There  are  first  verdures,  ranging  from  the  Gothic 
mille  fleurs,  where  thousands  of  delicate  flowers  sprinkle  over  the 
ground,  to  the  formal  landscape  of  the  eighteenth  century.  Second, 
there  are  the  grotesques,  products  of  the  Renaissance,  where  the  most 


44  INTRODUCTION:  TAPESTRIES 


varied  objects,  everything  from  goats  to  fair  ladies,  are  combined  into 
a  harmonious  design  by  a  geometrical  scheme  and  connecting  traceries. 
And  third,  there  are  the  great  tapestries,  the  storied  hangings  of  all 
times,  the  tapisseries  des  personnages. 

It  is  of  these  last  that  we  most  often  think  when  we  think  of  tapes¬ 
tries— and  justly,  for  the  greatest  European  hangings  from  the  earli¬ 
est  times  until  today  have  been  pictorial  tapestries.  The  oldest  Euro¬ 
pean  tapestries  we  have  date  from  the  thirteenth  and  fourteenth 
centuries.  Of  these  the  earliest  seem  to  be  German,  but  in  the  four¬ 
teenth  century  Paris  was  the  centre  of  production.  All  that  remains  to 
us  from  this  time  is  less  than  a  dozen  fragments.  None  of  these  have 
formal  borders,  and  the  background  is  conventional,  either  a  plain 
field  of  color  or  sprinkled  with  conventional  patterns  like  fleurs-de-lis, 
or  even  initials.  The  figures  are  few  and  large  in  proportion  to  the 
hangings,  with  patterns  on  their  robes  very  rich  and  beautiful  in  some 
cases,  but  huge  in  relation  to  the  wearer.  The  number  of  colors  is  very 
small,  fifteen  or  eighteen  at  the  most. 

When  we  come  to  the  fifteenth  century  we  have  a  great  many  more 
pieces  left  to  us  from  which  to  generalize.  The  centre  of  production 
has  turned  now  to  Arras,  whence  the  old  English  term  “arras”  and 
the  Italian  “arrazzi.”  There  is  usually  a  small  border  on  the  tapestry 
of  this  time,  sometimes  just  a  colored  band,  sometimes  a  band  orna¬ 
mented  with  a  simple  tracery  or  a  meandering  naturalistic  vine.  The 
background  is  often  architectural,  frequently  with  delightful  disre¬ 
gard  for  proportion,  so  that  a  lady  leans  from  a  tower  no  bigger  than 
herself.  In  many  of  the  early  fifteenth  century  tapestries  a  whole  series 
of  scenes  from  one  story  is  depicted,  the  various  characters  appearing 
several  times  in  the  one  hanging.  This  leads  to  a  throng  of  figures,  so 
that  a  whole  group  of  people  is  treated  as  a  unit  in  the  design.  Some¬ 
times  there  is  no  formal  separation  of  the  scenes,  but  in  other  pieces 
there  is  a  division  made  by  bits  of  landscape  or  delicate  and  elaborate 
Gothic  pillars.  The  patterns  on  the  robes  have  become  more  propor¬ 
tionate  in  the  more  crowded  compositions,  though  they  are  still  very 
complex,  and,  to  increase  the  richness,  lovely  little  naturalistic  Gothic 


The  History  of  Coriolanus- — No.  Ill 

Paris;  Early  X I  ’ll.  Century 


4°7 


The  History  of  Coriolanus — No.  IV 

Paris;  Earlv  XVII.  Century 


INTRODUCTION:  TAPESTRIES  45 


flowers  are  sprinkled  liberally  in  all  the  odd  spaces,  while  quaint  ani¬ 
mals  and  gorgeous  birds  appear  unexpectedly.2 

As  the  century  passes  the  centre  of  tapestry  supremacy  is  moved 
from  Arras  to  Brussels.  In  1477  the  town  of  Arras  fell  and  the  days 
of  her  greatest  glory  passed  forever.  But  the  glory  of  tapestry  con¬ 
tinued  to  mount,  reaching  its  highest  supremacy  in  this  Gothic- 
Renaissance  transition  of  the  end  of  the  fifteenth  and  the  beginning 
of  the  sixteenth  centuries. 

Tapestry  designing  of  this  period  is  more’  orderly  than  before.  The 
scenes  are  centralized  and  organized  better,  and  we  less  often  have  the 
same  people  appearing  again  and  again  in  the  one  hanging.  The  bor¬ 
ders  are  larger  and  more  elaborate,  but  are  still  quite  naturalistic,  and 
we  still  have  the  dainty  Gothic  flowers  and  the  quaint  animals. 

The  year  1515  marks  an  important  change  in  the  style  of  tapestry 
design.  It  was  in  that  year  that  the  looms  of  Brussels  first  came  into 
direct  contact  with  the  Italian  Renaissance  painting.  Pope  Leo  com¬ 
missioned  Raphael  to  design  for  him  a  series  of  tapestries  of  the  Acts 
of  the  Apostles.  The  cartoons  were  sent  to  a  Brussels  weaver,  and  so 
was  introduced  to  the  tapestry-makers  of  Brussels  the  new  Renais¬ 
sance  style  of  design. 

The  figures  now  become  larger  in  proportion  to  the  tapestry  and 
fewer  in  number,  the  composition  is  more  akin  to  painting  composi¬ 
tion,  with  a  greater  introduction  of  perspective.  The  detail,  though 
still  rich,  is  less  delicate.  The  flowers  change  from  the  tiny  natural 
wild  blossom  to  big  luxurious,  even  coarse  blooms.  And  the  border 
becomes  bigger,  fuller,  and  more  complex.3  No  longer  is  it  merely  a 
natural  vine  with  its  flowers  and  fruit.  It  is  a  formal  design,  often 
divided  into  units  and  embellished  lavishly  with  people,  architectural 
motives,  and  conventional  clusters  of  flowers  and  fruit. 

By  the  end  of  the  sixteenth  century  Brussels  had  declined  notice¬ 
ably  in  the  quality  of  her  weave,  and  in  the  seventeenth,  though  she 
continued  to  produce,  she  had  but  a  shadow  of  her  past  renown.  Two 

2Cf.  No.  402. 

3Cf.  No.  403,  409-11. 


46  INTRODUCTION:  TAPESTRIES 


new  centres  were  created.  At  the  beginning  of  the  century  Mortlake 
was  founded  in  England  and  a  few  years  later  were  taken  the  pre¬ 
liminary  steps  that  in  the  end  led  to  the  formation  of  the  Gobelins. 

In  spite  of  these  two  brilliant  ventures  the  century  marks  the  begin¬ 
ning  of  the  end  of  great  tapestry.  Under  the  influence  of  Rubens  (No. 
418)  and  Teniers  (Nos.  412-413)  the  designing  became  more  and 
more  pictorial.  The  decorative  character  and  the  specific  textile  values 
of  tapestry  were  ignored.  Even  portraits,  than  which  there  can  be 
nothing  less  fit  for  weaving,  began  to  be  produced.  The  fine  works  of 
the  seventeenth  century  were  almost  without  exception  those  which 
repeated  the  cartoons  of  the  sixteenth. 

The  courts  of  the  Louis  had  their  influence  on  tapestry  as  on  all 
the  decorative  arts,  giving  rise  to  a  new  type  of  design  under  such 
masters  as  Le  Brun  and  Boucher.  The  spirit  of  the  time  is  seen,  al¬ 
most  insolently  luxurious  and  brilliantly  and  self-consciously  playful 
with  a  polished  formality.  With  these  designers,  too,  the  style  is  apt 
to  be  too  pictorial,  and  there  is  an  unfortunate  change  to  light,  deli-  ' 
cate  colors  little  suited  to  tapestry.  Another  new  impetus,  and  a  more 
fortunate  one,  apeared  also  in  the  early  eighteenth  century  from  the 
romantic  interest  in  things  Oriental.  Fantastic  and  luxuriant  scenes 
from  India  and  China  were  admirably  adapted  to  weaving,  and  some 
fine  designs  were  produced. 

By  the  middle  of  the  eighteenth  century  the  great  tradition  of 
tapestry  was  dead.  ’Woven  paintings  became  the  order  of  the  day 
and  why  expend  the  labor  to  weave  paintings  when  painting  them 
would  be  so  much  more  successful  ?  So  completely  had  the  instinct  for 
tapestry  design  died,  they  actually  imitated  the  gilded  frames  of 
paintings  in  the  tapestry  borders. 

The  nineteenth  century  up  almost  to  its  close  had  best  not  be  men¬ 
tioned  in  a  history  of  tapestry.  The  degradation  of  the  art  was  com¬ 
plete.  And  that  it  was  is  not  incomprehensible.  For  there  was  no  public 
to  appreciate  tapestry.  It  had  ceased  to  be  the  plaything  of  kings  and 
the  adornment  of  cathedrals — ceased  so  entirely  that  even  its  old  glory 
was  forgotten  and  the  remnants  of  that  glory  were  desecrated.  The 


INTRODUCTION:  TAPESTRIES  47 


famous  Apocalypse  tapestries  of  the  Cathedral  of  Angers,  one  of  the 
oldest  and  most  valuable  sets  in  existence,  were  used  in  the  green¬ 
house  to  protect  the  trees  from  frost.  In  1894,  when  they  pulled  the 
paper  off  of  the  walls  of  the  Unwin  residence  in  Huntingdon,  they 
found  beneath  it  four  exquisite  verdures.  They  had  simply  been  left 
hanging  when  a  good  Victorian  paper  was  pasted  over  them.  And  so 
the  record  of  the  nineteenth  century  reads— a  tale  of  ignorance  and 
Philistinism.  With  such  a  public,  how  could  fine  tapestry  be  woven? 

The  decline  of  tapestry  is  thus  partly  on  account  of  its  loss  of  im¬ 
portance  to  the  public.  But  it  is  even  more  on  account  of  the  divorce 
of  the  craftsman  and  the  designer.  In  the  old  days  the  weaver  was  a 
creative  artist,  following,  it  is  true,  cartoons,  but  following  them  at 
his  own  discretion,  introducing  on  his  own  initiative  the  decorative  de¬ 
tails  and  deciding  for  himself  the  colors.  Being  a  weaver,  he  knew 
what  weaving  permitted  and  what  it  demanded.  Sometimes  he  even 
introduced  whole  figures  into  the  design.  In  fact  there  seems  to  have 
been  certain  stock  figures  which  the  weavers  adapted  to  different  occa¬ 
sions. 

In  following  Raphael’s  cartoons  the  weaver  was  dealing  with  an 
unfamiliar  style  and  dared  less  variation ;  but  even  here,  by  compar¬ 
ing  cartoons  and  hangings,  we  can  find  some  of  the  weaver’s  interpola¬ 
tions.  It  is  a  pity,  in  spite  of  the  beauty  of  the  hangings,  he  did  not 
indulge  in  more.  For  Raphael,  unfamiliar  with  textile  craft,  left  too 
many  blank  spaces  to  make  really  supreme  tapestry. 

From  Raphael  on,  the  history  of  the  art  is  a  record  of  ever-decreas¬ 
ing  creative  spontaneity  of  the  craftsman,  servile  imitation,  until  we 
find  Oudry  in  the  eighteenth  century  actually  complaining  that  the 
weavers  were  not  obedient  enough.  So  the  craftsmen  were  forced  to 
follow  painters  who  themselves  were  not  craftsmen,  and  thus  the 
substance  of  the  art,  severed,  was  destroyed. 

But  with  a  great  craftsman  came  again  great  tapestry.  William 
Morris  at  the  end  of  the  nineteenth  century  established  the  Merton 
Abbey  looms.  He  understood  weaving.  He  learned  to  make  tapestry 
so  that  he  could  understand  tapestry  designs.  In  these  looms  and  in 


48  INTRODUCTION:  TAPESTRIES 


other  more  recent  establishments,  such  as  the  Herter  looms  in  New 
York,  the  genius  of  tapestry  is  being  revived.  True,  it  can  never  be  to 
us  what  it  was  to  the  Middle  Ages,  when  it  was  absolutely  essential 
for  decoration  of  the  barren  stone  walls  and  an  important  adjunct  to 
every  festivity,  but  it  can  and  should  be  again  one  of  our  great  arts. 
Can  the  public  but  learn  to  justly  appreciate  it  and  the  makers  re¬ 
member  that  the  craft  must  control  the  design,  it  may  yet  be  one  of 
our  great  arts. 

Phyllis  Ackerman. 


The  History  of  Conolanus — No.  V 


Paris ;  Early  XVII.  Century 


Verdure  Tapestry  (Beauvais  Style  of  Teniers) 

XVII.  Century 


412 


TAPESTRIES 


49 


THE  SLEIGH  RIDE  ( French  Tapestry).  Late  XVIIL 
Century. 

This  piece,  depicting  a  winter  scene  in  Poland,  was  prob¬ 
ably  made  for  some  member  of  the  exiled  Polish  nobility 
who  sought  refuge  in  Paris  in  the  latter  part  of  the  eight¬ 
eenth  century. 

The  conventionalized  trees  and  the  bright  warmth  of  the 
holly  are  quite  charming  touches  that  help  to  redeem  the 
flat,  uninteresting  grayness  of  the  perspective.  The  piece  is 
characteristic  of  a  time  when  tapestry  was  not  at  a  high 
level.  The  border  is  gross  and  commonplace. 

W.  17'  3",  h.  12'  0".  Eighteen  warps  to  the  inch. 


401 


GOTHIC  HUNTING  TAPESTRY.  XIV.  Century. 

In  the  fifteenth  and  sixteenth  centuries,  the  greatest  period 
of  European  tapestry,  hunting  scenes  were  among  the  most 
favored  subjects  of  tapestry  designers.  The  inventories  of 
all  of  the  famous  collections  of  the  period,  beginning  with 
that  of  the  great  Duke  of  Burgundy,  have  as  important 
items  several  hunting  sets. 

This  splendid  piece  is  very  typical  of  one  of  the  most 
popular  styles  of  these  Gothic  hunting  tapestries.  It  is  char¬ 
acteristic  in  its  general  theme — a  rich  field  of  verdure,  with 
a  central  figure  on  horseback  attacking  a  fabulous  beast  of 
prey — and  it  is  characteristic  in  many  of  the  details  of  its 
rendering.  The  direct,  naive  drawing  in  flat  design — the 
quaint,  unexpected  animals — the  decoratively  presented 
birds  are  all  very  delightfully  Gothic.  The  narrow  running 
vine  border,  slight  and  unpretentious,  and  the  charming 
simplicity  of  the  water  are,  moreover,  very  early  Gothic. 
The  crude  drawing,  matched  by  a  rather  crude  weave,  is 
primitive,  too.  The  tapestry  is  in  all  these  respects  a  per¬ 
fect  exemplification  of  a  design  of  the  middle  of  the 
fifteenth  century. 

Yet,  even  while  thus  typical,  the  piece  shows  a  very  con¬ 
spicuous  variation  from  the  type.  The  verdure  is  not  the 
characteristic  Gothic  verdure  of  myriad  small  delicately 
wrought  flowers,  but  is  the  verdure  of  the  Renaissance — 


402 


So 

TAPESTRIES 

403 

large,  bold,  broad  in  conception  and  in  execution.  It  is  a 
Renaissance  verdure,  but  interpreted  in  Gothic  terms,  for 
it  has  none  of  the  heavy  shading  and  modeling,  none  of  the 
realism  of  the  Renaissance.  The  Renaissance  idea  is  con¬ 
veyed  with  Gothic  flatness  and  clearness. 

The  tapestry  is  thus  a  strange  and  delightful  mingling 
of  the  very  early  and  later.  Is  it  an  early  work,  foreshadow¬ 
ing  by  many  years  the  Renaissance  ?  Perhaps — yet  the  first 
influence  of  the  Renaissance  was  usually  expressed  in  the 
increasing  complexity  of  the  border,  which  this  so  evident¬ 
ly  lacks.  Or  is  it  a  later  piece  carrying  on  in  part  an  earlier 
tradition?  Possibly — yet  it  is  a  very  early  tradition  which 
it  is  mingling  with  its  later  motives.  The  unusual  combina¬ 
tion  of  primitive  and  sophisticated  elements  of  design  here 
leaves  the  identification  a  problem,  and  the  problem  is  com¬ 
plicated  by  the  lack  of  an  identification  mark  which  we 
would  have  a  right  to  expect  on  a  later  weave.  On  the  whole, 
however,  the  Gothic  predominates  so  strongly  it  seems  safe 
to  ascribe  it  to  the  fifteenth  century. 

But  however  dubious  the  date,  there  can  be  no  doubt  of 
the  worth  and  beauty  of  this  piece.  Rich  though  pleasantly 
simple  in  colors,  intricate  but  controlled  in  design,  direct 
and  playful  in  spirit,  it  affords  an  inexhaustible  field  for 
exploration,  an  ever-increasing  fund  of  new  delights.  It  is 
not  only  one  of  the  finest  tapestries  in  the  collection.  It 
would  rank  high  in  any  assemblage  of  fine  old  pieces. 

W.  13'  7",  h.  ir  2 Yi".  Twelve  warps  to  the  inch. 

SEPTEMBER  (Renaissance  Tapestry).  XVI.  Century. 

It  is  especially  fortunate  to  have  in  the  exhibition  such  a 
fine  typical  piece  of  Renaissance  tapestry  to  compare  with 
the  Gothic  style  which  it  supplanted  and  the  seventeenth- 
and  eighteenth-century  types  into  which  it  degenerated. 
Here  in  one  room  is  contrasted  the  direct  un-self-conscious 
absorption  in  the  work  so  typical  of  Gothic  art  (No.  402) 

1Compare  also  the  Diirer  print  (No.  105) — the  immediate  love  of  execution 
that  fashioned  its  means  and  adopted  its  conventions  without  any  aware¬ 
ness  of  studious  effort. 

4Z3  V erdure  Tapestry  (Beauvais  Style  of  Teniers ) 

XVII.  Century 


ggg  Chinese  T apestry  Representing  the  Eight  Immortals 

Early  Ching  Lung 


TAPESTRIES 

5* 

and  almost  diametrically  opposed  to  it  the  sophisticated  pur¬ 
posefulness  of  the  Renaissance  that  worked  out  both  its 
content  and  its  form  with  such  elaborate  studied  care.  And 
here,  too,  is  contrasted  the  enthusiasm  and  inventive  en¬ 
ergy  of  that  sophisticated  Renaissance  with  the  perfunctory 
superficiality  of  the  even  more  sophisticated  but  fatally 
conventionalized  eighteenth  century.1 

This  piece,  probably  made  in  Flanders  at  about  the  mid¬ 
dle  of  the  sixteenth  century,  can  well  be  accepted  as  repre¬ 
sentative  of  Renaissance  tapestry  in  general,  for  in  subject, 
in  design,  in  color,  and  in  drawing  it  is  the  epitome  of  the 
work  of  the  period.  The  subject  of  the  months,  always  popu¬ 
lar  in  tapestry  designing,  was  presented  in  some  notably  suc¬ 
cessful  series  in  the  early  Renaissance.  Skilfully  combined 
into  one,  we  have  in  this  piece  two  of  the  favorite  interpreta¬ 
tions — the  personification  of  the  month  by  a  Greek  god,  and 
the  representation  of  a  scene  characteristic  of  the  season. 
Bacchus,  carefully  equipped  with  the  proper  symbols,  in 
true  Renaissance  pride  of  classical  scholarship,  watches 
over  the  vintage.  The  vintage  itself  is  one  of  those  peasant 
scenes  that  were  so  often  the  motive  of  some  of  the  most 
charming  of  the  earlier  tapestries.  Still  a  third  Renaissance 
motive  is  recalled  by  the  three  children  in  the  foreground. 
They  are  reminiscent  of  the  “Playing  Boys”  that  inspired 
Giulio  Romano  and  so  many  of  his  followers. 

In  designing,  this  piece  ranks  high.  It  shows  a  skilful  as¬ 
sembling  of  these  motives  together  with  a  rich  and  varied 
ornamental  detail  into  a  well-ordered  whole.  The  surface  is 
well  covered,  but  never  monotonously  or  confusedly.  The 
frame  of  the  signs  of  the  Zodiac  is  handled  in  a  masterly 
manner.  Necessarily  conventional,  because  it  is  a  frame,  it  is 
yet  kept  alive  and  interesting.  The  signs  themselves  are  well 
fitted  into  circular  motives  which  give  the  sense  of  a  re¬ 
current  pattern  in  spite  of  their  diversity.  With  even  nicer 
invention  the  groups  of  classical  women  are  made  conven¬ 
tional  by  keeping  them  in  the  same  general  formally  bal- 

1Cf.  No.  401. 

52 

TAPESTRIES 

anced  outline,  but  still  they  are  kept  individual  and  varied 
by  slight  modifications  of  detail  and  constant  novelty  of 
color  combinations.  The  difficult  corners  are  cleverly  man¬ 
aged,  too.  They  are  filled  easily  without  any  sense  of  com¬ 
pulsion  or  awkwardness,  with  the  parents  of  Bacchus 
complementing  the  classical  portion  above  and  further 
incidents  in  the  peasant  vintage  below.  Finally,  the  fecund¬ 
ity  of  imagination  and  sure  feeling  gives  rise  to  a  rich  and 
forceful  border.  A  little  comparison  will  show  that  though 
the  outline  is  balanced  on  either  side  of  the  tapestry  there 
is  almost  no  duplication  of  detail.  Especially  satisfying  is 
the  fine  group  of  upspringing  irises  on  the  right,  a  figure 
often  found  in  the  borders  of  this  period.  The  fluttering 
ribbon  device,  though  not  as  well  treated  here  as  in  some 
borders,  yet  serves  well  its  purpose  of  giving  lightness  and 
vivacity  to  the  otherwise  rather  heavy  fruit  and  flower  gar¬ 
lands. 

In  color,  this  piece  may  not  seem  satisfying.  One  feels  a 
lack  of  some  deep  solid  tone  to  hold  it  together  and  give  it 
substantiality.  But  if  it  loses  in  seriousness  and  dignity  by 
this  lack,  there  is  no  denying  that  it  gains  in  gaiety  and  ele¬ 
gance.  And  the  light  bright  tones  are  used  to  the  best  ad¬ 
vantage.  Especially  good  and  rather  unusual  are  the  nice 
variations  in  the  border  background  and  the  fine  and  very 
unusual  gradual  lightening  of  the  background  of  the  cen¬ 
tral  circle  and  signs  of  the  Zodiac  frame— a  gradation 
which  gives  an  agreeable  sense  of  progress  and  balance 
without  any  break  of  continuity. 

To  most  observers  the  drawing  will  be  the  least  satisfac¬ 
tory  aspect  of  this  piece.  And  it  must  be  at  once  admitted 
that  for  skilful  technique  this  cannot  compare  with  the  work 
of  the  next  century,  especially  such  fine  weaving  as  No. 
419.  The  weavers  had  not  yet  adapted  themselves  to  the 
much  more  fleshly  and  highly  modeled  people  the  Renais¬ 
sance  required  them  to  depict.  But,  after  all,  this  is  perhaps 
more  a  defect  of  realism  than  it  is  a  defect  of  art,  for  these 
weavers  were  still  rendering  their  figures  in  terms  of  con- 

B oreas  A  bducting  Orythia 

XVII .  Century.  School  of  Rubens 


4*9 


Renconter  (The  Encounter ) 

Brussels  Tapestry ;  XVII .  Century 


TAPESTRIES 

53 

vention,  and  that  is  probably  more  fit  rendering  for  a  textile 
design. 

W.  13'  824",  h.  14'  7 Vi".  Border,  11  y2".  Twenty  warps  to  the  inch. 

Lent  by  William  Randolph  Hearst,  Esq. 

THE  HISTORY  OF  CORIOLANUS  (Paris).  Early 
XVII.  Century. 

The  Coriolanus  set  of  tapestries  is  one  of  the  finest  and 
most  important  sets  in  America  and  one  of  the  greatest  that 
the  seventeenth  century  produced.  Its  significance  is  many 
sided.  It  is  at  once  an  important  document  in  the  history  of 
tapestry,  an  interesting  memento  in  the  history  of  France, 
a  great  work  of  art,  and  a  marvelous  piece  of  textile  tech¬ 
nique. 

The  set  was  woven  in  Paris  in  the  early  seventeenth  cen¬ 
tury,  and  bears  the  city  mark  in  the  selvage  of  each  piece. 

It  was  the  product  of  one  of  the  looms  established  under 
royal  patronage  whose  consolidation  and  extension  later 
made  the  Gobelin  manufactory.  Which  one  of  these  parent 
looms,  it  was,  however,  is  in  some  doubt.  Thomson2  ascribes 
it  to  the  workshop  in  the  Trinity,  Foulke  to  the  old  Gobe¬ 
lins.  The  acceptance  of  either  is  equally  interesting,  since  in 
the  one  case  it  becomes  associated  with  a  great  designer,  in 
the  other  with  a  great  weaver.  For  if  it  was  woven  in  the 
Trinity,  it  is  probable  that  Lerambert  designed  it.  But  if  it 
was  woven  in  the  old  Gobelins,  it  is  the  work  of  the  master 
weaver  Francois  de  la  Planche,  imported  by  the  king  from 
Flanders,  and  one  of  the  most  famous  tapestry-weavers  of 
all  time.  The  latter  is  almost  certainly  the  proper  attribu¬ 
tion,  since  the  weaver’s  mark  on  the  dexter  selvage  of  I.,  II., 
IV.,  and  V.  is  apparently  a  monogram  formed  of  the  letters 

F  P,  and  so  is  the  signature  of  Francois  de  la  Planche. 

The  set  probably  passed  at  once  into  the  ownership  of  the 
king,  who  presented  it  to  the  Cardinal  Francesco  Barberini 
when  he  came  as  representative  of  the  Pope  in  1624  to  ad¬ 
just  the  Valteline  controversy.  Thus  the  tapestries  are  con¬ 
nected  with  an  important  transaction  in  the  history  of 

4°4~ 

408 

2 History  of  T apestry,  p.  244. 

54 

TAPESTRIES 

France,  and  indeed  of  all  Europe,  for  this  was  but  one  inci¬ 
dent  in  the  series  of  struggles  between  Richelieu  and  Spain. 

Another  less  direct  historical  association  adds  also  to  the 
interest  of  the  set.  It  must  have  been  woven  almost  simul¬ 
taneously  with  the  first  presentation  of  Shakespeare’s  trag¬ 
edy,  Coriolanus,  which  probably  had  its  premier  in  1610. 
Both  tragedy  and  tapestries  are  based  on  the  story  of  Corio¬ 
lanus  from  Plutarch’s  Lives-— the  tragedy  on  the  English 
translation  made  by  North  in  1579,  the  tapestries  probably 
on  Jacques  Amyot’s  French  translation,  which  had  appeared 
in  1559.  Both  have  selected  as  focal  points  in  the  stories  the 
same  episodes.  The  first  tapestry  corresponds  to  act  I.,  scene 
ix.,  the  second  and  third  to  act  III.,  scene  iii.,  the  fourth  to 
the  opening  of  act  IV.  and  the  fifth  to  the  final  scene  in 
act  V. 

These  points  in  the  history  of  the  set  undoubtedly  lend  it 
interest  and  meaning,  but  the  set  by  no  means  has  to  de¬ 
pend  upon  its  history  for  its  interest  and  importance.  Its 
greatest  value  is  in  its  own  beauty  of  design  and  execution. 
Even  the  most  casual  observer  must  realize  that  it  is  a 
great  work  of  art.  It  has  the  dignity  and  solemnity  that  ac¬ 
company  only  greatness.  It  is  reserved  and  restrained,  but 
it  nevertheless  impressively  bespeaks  its  own  importance.  It 
commands  attention  and  respect — almost  awe — with  a  dom¬ 
inating  insistent  force.  Yet  in  spite  of  its  dignity  and  power 
it  is  not  at  all  ponderous.  The  clarity  and  certainty  of  its 
presentation  give  it  a  vividness  of  great  vitality. 

Whether  it  was  Lerambert  or  some  other,  the  painter  of 
these  cartoons  was  certainly  an  artist  of  great  ability;  for 
the  range  of  design  presented  just  in  this  one  set  is  extraor¬ 
dinary.  The  designer  equally  well  holds  within  his  grasp 
the  wide  vista  of  a  field  of  battle  and  makes  interesting  the 
close  and  narrow  confines  of  the  corner  of  a  room.  He  man¬ 
ages  as  well  a  few  figures  in  a  great  space  as  the  crowd  of 
figures  pressed  together  in  the  assembly.  And  there  is  no 
hint  of  repetition  in  the  effect  of  his  grouping. 

Variety  and  ease  were  the  more  difficult  to  obtain  in  these 

TAPESTRIES 

55 

designs  because  they  are  decidedly  formal.  The  choice  of 
these  severely  formal  schemes  shows  at  once  a  fine  sympathy 
with  the,  at  least  traditional,  character  of  Rome ;  and  on 
the  other  hand  a  nice  feeling  for  fitness  in  tapestry.  For  the 
story  is  an  exciting  and  tragic  one,  and  without  the  restraint 
of  formal  design  might  easily  become  too  emotional  to  be 
properly  decorative. 

Formality  is  always  somewhat  in  danger  of  stiffness  and 
monotony,  but  here  the  artist’s  fertile  sense  of  design  saves 
his  work  from  these  defects.  The  minor  groups  are  always 
interesting,  though  never  enough  so  to  distract  from  the 
main  focus.  The  opportunities  for  decorative  detail  are  used 
to  the  fullest.  And  there  is  throughout  a  good  varied  imagi¬ 
nation  for  spacing  and  color  spotting. 

The  design  of  the  borders  is  an  interesting  transitional 
combination  of  the  cartouche  style  of  the  High  Renaissance 
and  the  formal  wood-carving  style  of  the  latter  part  of  this 
century.  It  is  a  particularly  happy  combination  for  a  set  of 
this  character,  for  the  highly  decorative  type  of  the  preced¬ 
ing  century  is  too  rich  to  have  the  solemnity  necessary  for 
such  a  series  as  this,  while  the  barren  wood-carving  type  is 
too  uninteresting  in  its  usual  interpretation  to  adequately 
complement  and  control  the  strength  of  the  central  panels. 
The  forcefulness  so  well  secured  in  these  borders  is  largely 
due  to  the  clever  management  of  the  acute-angled  formal 
pattern.  The  square  cartouches  at  top  and  bottom  especially 
merit  attention  as  unusual  and  spirited  renderings  of  a  pic¬ 
torial  design  in  monochrome. 

The  artist’s  color  sense  is  as  certain  and  rich  as  his  in¬ 
stinct  for  pattern,  and  here  too  he  shows  an  especially  nice 
sympathy  with  the  requirements  of  tapestry.  The  tones  are 
few,  well  massed,  and  well  contrasted.  The  strong  use  of 
the  complementary  blue  and  gold  is  very  striking.  It  lends 
to  each  color  greater  vibrancy  and  to  the  whole  greater 
strength.  The  dominating  coldness  of  the  blue  corresponds 
to  the  formality  of  the  grouping  and  adds  to  the  imposing 
remoteness  of  the  figures  that  makes  them  almost  statuesque. 

5& 

TAPESTRIES 

If  the  artist  who  designed  this  was  great,  he  who  wove  it 
was  perhaps  even  greater.  For  the  triumphs  of  the  one  be¬ 
come  the  problems  of  the  other.  Fertility  in  design  demands 
versatility  in  execution.  The  fulness  of  the  compositions 
makes  them  particularly  difficult  to  weave,  for  the  subordi¬ 
nate  groups  have  to  be  rendered  finely  and  carefully,  but 
yet  not  obtrusively. 

The  technical  skill  of  these  pieces  cannot  be  overempha¬ 
sized.  It  is  really  remarkable.  Contrast  the  mere  suggestive 
mapping  out  of  the  features  in  the  faces  of  the  Renaissance 
piece  (No.  403)  and  the  fine  individualized  expressive  por¬ 
trait  rendering  of  the  faces  even  of  the  minor  characters 
here.  Each  one  is  a  study  in  personality,  and  each  one  com¬ 
pletely  individualized. 

Perhaps  even  more  difficult  than  the  weaving  of  the  face 
is  a  successful  portrayal  of  hands  in  textiles.  The  delicacy 
of  outline  and  modeling  might  well  seem  impossible  to  re¬ 
produce  with  a  shuttle.  But  in  these  pieces  that  impossibility 
is  completely  overcome.  The  second  and  third  pieces  can  be 
profitably  examined  as  studies  in  hands — their  character, 
gesture,  drawing,  and  modeling. 

Indeed  the  breadth  and  variety  of  skill  are  almost  limit¬ 
less.  With  equal  beauty  and  ease  are  presented  faces,  hands, 
flesh  quality,  the  texture  and  folds  of  garments,  the  struct¬ 
ure  and  surface  of  architecture,  and  all  manner  of  decorat¬ 
ive  details.  So  wide  is  the  range  it  seems  probable  that  it 
was  not  the  work  of  one  man  but  of  a  company  of  specialist 
weavers  working  under  the  direction  of  Frangois  de  la 
Planche.  Assuming  this,  there  still  remains  sufficient  glory 
for  the  master,  for  it  was  his  work  to  supervise  the  selection 
of  colors,  a  particularly  difficult  task  here,  where  the  design 
is  worked  out  in  strong  complementary  primaries  in  which 
it  is  hard  to  get  good  lights  and  tactful  transitions.  It  is 
superfluous  to  point  out  how  well  he  has  succeeded, 
j  Mr.  Ffoulke’s  estimate  is  a  convincing  summary  of  the 

1  excellences  of  the  set.  “The  abundance  of  personages,  the 

1  distinguished  air  of  the  principal  actors,  the  grandeur  and 

TAPESTRIES 


luxuriousness  of  the  accessories,  the  warmth  and  richness  of 
the  colors,  the  exquisite  harmony  of  the  borders  with  the 
main  compositions,  the  nobility  and  dignity  of  the  subjects, 
the  excellence  of  the  grouping,  drawing,  and  perspective, 
the  charming  treatment  of  the  lights  and  shades,  and  the 
perfection  of  the  technical  execution,  combine  to  make  this 
series  one  of  the  most  powerful  illustrations  of  the  purest 
principles  of  decorative  art  that  the  world  has  ever  seen.” 
No.  I.  The  consul  Comimus  conferring  the  name  of  Corio- 
lanus  upon  Caius  Marcius.  In  the  background  is  the  city  of 
Corioli ,  before  whose  walls  the  Romans  and  V olscians  con¬ 
tinue  fighting. 

The  presentation  of  distance  is  always  a  problem  in  tapes¬ 
try,  for  it  is  necessary  to  have  it  convincing  yet  not  deny 
the  flat  character  of  the  textile.  The  solution  of  the  problem 
here  is  unusually  clever.  The  third  dimension  is  frankly 
translated  to  an  element  of  a  flat  design  by  having  it  re¬ 
duced  to  three  clearly  marked  flat  strips  superimposed.  Yet 
the  effect  of  perspective  is  wholly  retained  and  the  panels 
flooded  with  light  and  air  to  a  degree  seldom  found  even  in 
the  finest  tapestries. 

The  spirit  of  formality  in  the  design  is  very  cleverly  em¬ 
phasized  by  the  use  of  the  shields  of  the  two  soldiers  in  the 
immediate  foreground  as  formal  corner  patterns.  The  cen¬ 
tre  is  well  focused  by  a  multiplying  of  decorative  details 
that  give  sufficient  richness  to  the  surface  to  counteract  the 
spaciousness. 

The  rich  blue  of  Cominius’s  cloak  is  especially  fine  and 
luminous. 

Marked  Pir  in  bottom  of  selvage,  and  in  dexter  selvage. 

Height,  12'  2";  width,  12'  9".  Eighteen  warps  to  the  inch. 


57 


4°4 


No.  II.  The  Tribunes  under  the  influence  of  demagogues , 
after  a  special  and  hurried  consultation,  condemn  Corio- 
lanus  to  death. 


405 


This  piece  is  a  beautifully  skilful  patterning  of  a  few  sim¬ 
ple  masses  of  color.  The  green  is  exceedingly  lovely,  as  is 
the  rendering  of  the  high  lights  in  the  gold.  The  complete 


5^ 

TAPESTRIES 

406 

characterization  of  the  minor  personages  keeps  a  limited 
composition  from  being  an  uninteresting  one. 

Marked  .{.p  in  bottom  selvage,  and  ^  in  dexter  selvage. 

Height,  12'  3";  width,  7'  S".  Twenty  warps  to  the  inch. 

No.  III.  Coriolanus  summoned  before  the  Tribunes  in  the 
Forum  declines  to  apologize  for  his  speech  in  the  Senate, 
and  incites  them  to  fury  by  his  calm  and  haughty  bearing 
and  fearless  language. 

This  is  in  many  respects  the  most  notable  piece  in  the  set. 
The  throng  of  figures,  each  completely  and  definitely  pre¬ 
sented  as  a  particular  individual  of  a  distinctive  character, 
is  remarkable.  There  are  no  lay  figures.  Even  the  citizens, 
but  partly  seen  through  the  doorway,  are  human  beings  in¬ 
terested  in  each  other  and  enacting  a  little  scene.  The  detail 
is  extraordinary,  but  is  never  confusing  and  never  oppres¬ 
sive.  Even  the  writing  on  the  clerk’s  scroll  is  indicated. 

The  scheme  of  composition  is  very  daring,  and  could  be 
managed  only  by  a  very  able  designer.  The  whole  composi¬ 
tion  is  split  in  two  down  the  middle  by  both  line  and  color. 

A  clear  division  is  effected  first  by  the  line,  balanced  on  the 
far  end  by  the  vista  and  on  the  near  by  the  clerk  in  the  im¬ 
mediate  foreground,  and,  second,  by  the  distribution  of  color 
in  predominant  gold  masses  on  the  left  and  blue  on  the 
right.  Then,  in  defiance  of  the  break,  the  design  is  drawn 
together  again  by  clearly  suggested  diagonal  lines  on  each 
side  converging  to  the  centre,  lines  which  are  defined  by  the 
outlines  and  the  grouping  of  the  figures  and  are  repeated 
by  the  trend  of  the  color  pattern.  Minor  unifying  devices 
are  two  horizontal  lines  running  through  the  spectators  in 
the  back  and  the  citizens  outside  the  door,  which  hold  the 
sides  together,  and  a  very  pleasant  reciprocal  echo  of  color 
where  the  foremost  figure  of  each  side  is  carried  out  in  the 
dominant  tones  of  the  opposite  section.  It  is  one  of  the  most 
difficult  design  schemes  that  the  artist  could  have  chosen,  but 
it  was  not  chosen  because  of  its  difficulty  as  a  tour  de  force, 
but  because  the  overcoming  of  the  difficulty  gives  strength 
and  power  to  the  scene.  A  nice  detail  of  the  design  is  the 

TAPESTRIES 


59 


satisfying  way  in  which  richly  decorated  but  dull-colored 
space  compensates  for  richly  colored  but  wholly  undecor¬ 
ated  space. 

Marked  P-4*  in  bottom  selvage  and  if?  in  dexter  selvage. 

Height,  12'  3";  width,  18'  7".  Eighteen  warps  to  the  inch. 


No.  IV.  Corioianus,  exiled ,  bids  good-by  to  his  mother ,  wife, 
and  children.  The  three  Tribunes  stand  at  the  gate  to  wit¬ 
ness  his  departure ,  and  his  patrician  friends,  some  on  foot 
and  others  on  horseback,  are  ready  to  escort  him  to  the  gates 
of  Rome. 

There  is  no  piece  in  the  set  in  which  the  dignity  and  reserve 
of  great  art  are  better  exemplified  than  in  this.  For  the 
scene  in  the  hands  of  a  little  man  would  either  have  been 
made  appealing  and  interesting  through  a  liberal  show  of 
sentiment;  or,  in  the  desire  to  avoid  this,  it  would  have 
erred  in  the  other  direction,  and  have  been  stiff  and  inex¬ 
pressive.  Because  this  is  great  art  it  is  neither  sentimental 
nor  lacking  in  emotion. 

The  dignity  is  preserved  here  as  elsewhere  by  the  orderly 
formality  of  the  grouping  and  is  emphasised  by  the  strong¬ 
ly  defined  vertical  lines  of  the  pillars  that  make  the  back¬ 
ground  and  focus  for  the  main  group.  The  Coldness  of  this 
formality  is  overcome  by  the  close  limitation  of  the  vista 
that  gives  the  scene  its  intimacy  and  by  softening  the  strong 
vertical  effect  with  such  devices  as  the  well-rendered  flying 
drapery  of  Coriolanus’s  cloak. 

The  group  at  the  right  is  splendid.  The  rich  quality  of 
the  garments,  the  delicate  high  lights  that  convey  the  feel¬ 
ing  of  the  stuffs,  and  the  different  folds  into  which  the 
different  textures  fall  are  very  sensitively  rendered.  The 
dull-brown  coat  of  the  slave  as  a  background  and  contrast 
is  a  particularly  happy  choice. 

Marked  P-4*  in  bottom  selvage,  and  ^  in  dexter  selvage. 

Height,  12'  6";  width,  14'.  Eighteen  warps  to  the  inch. 

No.  V.  Corioianus  is  assassinated  at  Antium  by  Tullus 
Aufidius  and  his  accomplices. 

As  the  preceding  piece  escaped  sentimentality  without  loss 
of  emotion,  so  this  piece  escapes  the  melodramatic  without 


407 


408 


6o 


4°9“ 

41 1 

4°9 


410 


TAPESTRIES 


losing  the  tragic.  The  means  of  achieving  this  effect  is  in 
this,  as  in  the  former  piece,  the  use  of  formal  design.  This, 
a  simple  bilateral  balance,  with  the  subordinate  actors 
matching  man  for  man  on  either  side  of  Coriolanus,  is  the 
most  formal  scheme  of  all,  and  necessarily  so,  for  it  must 
restrain  the  most  dramatic  scene.  The  restraint  is  enhanced 
also  by  the  clean,  firm  rendering  of  the  solid  mass  of  the 
building  that  frames  and  emphasizes  the  tragedy. 

This  dark  heavy  building  with  its  solemn  black  arches 
serves  also  the  second  purpose  of  expressing  the  porten¬ 
tousness  of  the  situation.  This  together  with  the  tragic  sky 
— comparable  almost  to  that  of  Mantegna’s  Crucifixion- 
strikes  the  emotional  keynote  of  the  piece.  The  spirit  is 
further  carried  out  by  the  ususually  conspicuous  rendering 
of  the  shadows  that  add  a  solemn  mystery,  and  is  subtly  re¬ 
inforced  by  contrast  with  the  trivial  matter-of-factness  of 
the  oblivious  citizens  going  about  their  business  in  the  back¬ 
ground. 

The  central  scheme  itself  is  simple  and  impressive.  The 
sense  of  rapid  movement  and  suddenness  suggested  by  the 
two  figures  on  either  side  of  the  foreground,  who  are  only 
half  way  on  the  tapestry,  is  very  exciting.  The  whole  effect 
is  one  of  directness  and  sincerity  that  lifts  it  wholly  clear  of 
any  taint  of  self-consciousness  quite  to  the  level  of  the 
genuinely  tragic.  „ 

Marked  P+  in  bottom  selvage,  and  $  in  dexter  selvage. 

Height,  12'  2";  width,  10'  10".  Sixteen  warps  to  the  inch. 

THREE  FRAGMENTS  OF  RENAISSANCE  BOR¬ 
DER.  XVI.  Century  design. 

(1)  Fragment  of  lower  border.  XVI.  Century. 

Fruits  and  flowers,  figures  of  Ceres  and  Neptune.  This  is 
another  variation  of  the  most  characteristic  Renaissance  bor¬ 
der  similar  to  No.  420.  It  has  opulence  that  still  is  graceful 
and  charming,  the  typical  Renaissance  virtues. 

L.  10'  9 y2",  w.  1'  8/2".  Eighteen  warps  to  the  inch. 

(2)  Bottom  fragment  of  preceding. 

W.  1'  6l/2",  h.  10'  9 y2".  Eighteen  warps  to  the  inch. 


424 


Ship  Scenes  Series— No.  I 

Aubusson  ;  Late  XVIII.  Century 


425 


Ship  Scenes  Series — No.  II 

Aubusson;  Late  XVII I.  Century 


TAPESTRIES 


61 


(3)  Two  side  fragments  (same  as  preceding). 

W.  1'  7",  h.  7'  4".  Eighteen  warps  to  the  inch. 

W.  1'  7",  h.  7'  4".  Eighteen  warps  to  the  inch. 

TWO  VERDURE  TAPESTRIES  (Beauvais).  Style  of 
Teniers.  XVII.  Century. 

These  Teniers-style  tapestries  were  great  favorites  of  the 
seventeenth  century.  They  are  really  a  development  of  ver¬ 
dures,  the  few  small  figures  in  the  mass  of  greenery  hardly 
sufficing  to  bring  them  into  the  class  of  tapissenes  des  per- 
sonnages.  The  framing  of  trees,  the  formal  landscape  in  the 
background,  and  the  small  squat  peasant  figures  all  make 
these  pieces  delightfully  typical  of  their  style.  It  is  too  late 
in  the  history  of  tapestry  to  have  much  variety  or  niceness 
of  detail,  but  the  colors  are  rich  and  full  and  the  borders 
are  really  decorative. 

412.  W.  8' 10",  h.  11' 554".  Fourteen  warps  to  the  inch.  Marked: 

413.  W.  8'  8".  h.  11'  7J4".  Fourteen  warps  to  the  inch. 

GERMAN  EMBROIDERY.  XVI.  Century. 

The  story  of  Solomon  told  in  five  scenes :  (1)  Scene  in  gar¬ 
den ;  (2)  Banquet  with  jester;  (3,  4)  The  judgment  of 
Solomon;  (5)  Another  banquet.  Two  shields,  apparently 
heraldic. 

This  delightfully  quaint  piece  is  a  splendid  example  of 
how  unprofessional  art  (as  it  might  be  called)  carries  on 
earlier  traditions  in  the  midst  of  the  greater  sophistication 
of  the  general  art.  The  many  scenes,  on  one  piece,  with  the 
same  actors  recurring  on  different  parts  of  the  design,  and 
the  spaces  filled  with  charmingly  irrelevant  animals  and 
flowers,  are  typical  of  the  Gothic.  The  presence  of  these 
Gothic  characteristics  with  the  precise  classic  architecture 
would  lead  one  to  place  it  in  the  early  sixteenth  century 
were  it  not  that  the  costume  of  the  people,  dressed,  in  spite 
of  the  Biblical  theme,  in  contemporary  clothes,  are  of  the 
late  sixteenth  century.  The  lady  who  so  patiently  wrought 
the  piece  retained  the  naivetes  of  a  hundred  years  earlier. 


4II 

412- 

413 


Embroidered  in  wool,  silk,  and  metal  thread  on  canvas.  Tapestry  stitch 
and  couching.  Appliques  of  velvet. 

W.  7'  6J4",  h.  V  454". 


62 

TAPESTRIES 

415 

416 

417 

418 

SWEDISH  PEASANT  TAPESTRY.  Modem  Render¬ 
ing  of  Ancient  Motive. 

Repeated  Motive  of  Conventional  Deer  in  Wreath. 

The  clear,  bright  colors  in  such  a  design  as  this  are  very- 
pleasant,  and  the  conventionalization  though  primitive  is 
skilful.  The  sharp  angularity  of  the  design  gives  it  a  char¬ 
acteristically  Scandinavian  flavor. 

Dr.  Martin2  suggests  that  the  designs  similar  to  this, 
which  are  quite  frequent  in  Scandinavian  weaves,  are  an 
adaptation  of  the  patterns  of  the  Asia  Minor  rugs  prior  to 
the  fifteenth  century  that  were  brought  into  Northern 
Europe  by  the  returning  mariners.  He  illustrates  a  strip 
very  similar  to  this.3 

W.  6'  3T/i",  h.  1'  8".  Twelve  warps  to  the  inch. 

SWEDISH  PEASANT  TAPESTRY.  Modern. 

This  is  an  interesting  interpretation  of  millefleur  tapestry, 
with  squarely  conventionalized  flowers  and  birds  reminis¬ 
cent  of  some  Caucasus  rugs. 

W.  3'  2 y2",  h.  6'  4".  Fourteen  warps  to  the  inch. 

NORWEGIAN  TAPESTRY.  Modern  Reproduction. 

This  is  a  modern  reproduction  of  a  very  early  Norwegian 
piece,  probably  of  the  fifteenth  century,  now  in  the  Stock¬ 
holm  Museum.  The  conventional  vine  border  and  the  con¬ 
ventional  floreation  with  the  animals  at  the  bottom  are  a 
crude  but  still  very  charming  rendition  of  the  Gothic  tra¬ 
dition.  The  quaint  and  rather  disproportionate  architectur¬ 
al  details  are  also  Gothic. 

W.  4'  8",  h.  6'  8$4".  Ten  warps  to  the  inch. 

BOREAS  ABDUCTING  ORYTHIA.  Grotesque  Border. 
XVII.  Century.  School  of  Rubens. 

This  is  characteristic  of  a  large  number  of  seventeenth-cen¬ 
tury  tapestries  made  under  the  influence  of  Rubens.  It  is  in¬ 
teresting  to  compare  this  with  Rubens’s  interpretation  of  the 

2F.  R.  Martin,  A  History  of  Oriental  Carpets  before  1800,  p.  142. 

*Ibid.,  fig.  $6r. 

Ship  Scenes  Series — No.  Ill 

Aubusson ;  Late  XVIII.  Century 


427 


Ship  Scenes  Series — No.  IV 

Aubusson;  Late  XVII 1 .  Century 


TAPESTRIES 


same  subject  in  the  painting  in  the  Vienna  Gallery.4  The 
story  is  that  Boreas,  because  he  could  not  sigh  and  whisper 
softly  like  a  true  lover,  could  not  win  the  nymph  Orythia ; 
so,  becoming  impatient,  he  seized  her  one  day  and  bore  her 
off. 

The  tapestry  suffers  from  the  flatness  of  tone  and  the 
sparseness  of  decorative  design  that  were  the  defects  of  its 
type.  The  ideal  of  painting  was  too  dominant  to  make  good 
weaving. 

W.  8'  7  Yt",  h.  10'  2 y2".  Eighteen  warps  to  the  inch. 


RENCONTER  (The  Encounter) .  Brussels  Tapestry.  4-1 9 
Woven  in  the  late  XVII.  Century  in  the  studios  of  Jacques 
Van  Borght. 

The  weaving  technique  of  this  piece  is  exceedingly  fine  and 
even,  and  one  cannot  but  admire  the  skill  with  which  the 
realistic  details  such  as  the  horses’  eyes  are  rendered.  But 
the  design,  like  almost  all  those  of  the  time,  is  vitiated  by 
the  influence  of  painting  and  has  lost  its  decorative  feeling. 

The  details  are  realistic,  not  decorative.  Occasionally  we 
get  a  nice  bit  of  enrichment,  as  in  the  horseman’s  holster, 
but  other  opportunities  are  overlooked.  For  instance,  the 
guns  of  the  time  were  richly  carved  and  chased,  but  the 
guns  in  the  tapestry  have  no  ornamentation  at  all.  The  bor¬ 
der,  where  the  decorative  motive  must  prevail,  is  especially 
disappointing.  It  is  interesting  to  compare  the  much  more 
successful  use  of  the  same  elements  of  design  in  some  of 
Giulio  Romano’s  series  known  as  “Fructus  Belli,”  woven 
over  a  hundred  years  earlier.5 
Signed,  A  CASTRO;  marked  B®B 
W.  16'  5",  h.  13'  2".  Twenty  warps  to  the  inch. 

ENTRE-FENETRE  (Probably  Flemish). I.  Century.  420 
Fruit  and  flowers  on  trellis,  figure  of  girl  playing  a  harp, 
and  figure  of  girl  holding  a  parrot.  Entre-fenetres  were  a 

*Hochette,  Rubens,  p.  185  (illustration). 

sGuichard,  Les  Mobiliers  de  la  Garde  Meuble,  p.  8  (illustration). 


64 

TAPESTRIES 

part  of  many  suites  of  tapestry.  They  served  to  fill  the  nar¬ 
row  spaces  between  the  windows,  as  the  name  suggests,  or 
sometimes  were  used  as  additional  borders  when  a  wall¬ 
hanging  was  not  wide  enough  to  fill  its  allotted  space.  This 
one  in  richness  of  design  and  delicacy  of  color  is  very  typ¬ 
ical  of  the  borders  and  entre-fenetres  of  the  period. 

W.  2'  Syi",  h.  12'  0".  Sixteen  warps  to  the  inch. 

421 

BORDER  OF  FRUIT  AND  FLOWERS.  XVI.  or  XVII. 

Century. 

Such  a  border  as  this  was  very  usual  throughout  two  centu¬ 
ries  on  many  types  of  tapestries.  It  is  impossible  to  place  it 
definitely,  but  the  coarseness  of  the  fruit  and  the  brightness 
of  the  colors  suggest  that  it  probably  was  woven  in  the  sev¬ 
enteenth  rather  than  the  sixteenth  century. 

W.  of  border  1'  5";  w.  7'  9",  h.  10'  3".  Sixteen  warps  to  the  inch. 

422- 

423 

TWO  FRAGMENTS  OF  BORDER.  XVI.  Century. 
Grotesques,  one  with  figure  of  king  in  armor  in  medallion 
and  inscription  INACON  I  CN  IVSES1  O,  the  other  with 
figure  of  nude  man  with  camel  in  medallion.  On  this  latter 
piece  the  border  on  one  side  is  torn  and  sewed  back.  These 
pieces,  though  in  general  characteristic  of  their  period,  are 
rather  a  variation  from  the  more  usual  types  seen  in  Nos. 
409-411.  It  is  needless  to  point  out  the  fine  vitality  and 
control  of  the  design. 

W.  1'  8",  h.  4'  6yi".  Twenty  warps  to  the  inch. 

424‘ 

428 

SERIES  OF  FIVE  SCENES  OF  SHIPS  (Aubusson). 
Late  XVIII.  Century. 

This  series  was  originally  in  only  two  pieces,  Nos.  424, 
425,  and  426  forming  one  composition,  and  Nos.  427  and 
428  the  other.  They  were  cut  to  be  used  as  wall  panelings, 
inset  in  mouldings ;  hence  their  lack  of  borders. 

The  set  is  typical  of  the  period,  a  purely  pictorial  treat¬ 
ment  that  might  be  called  romantic  realism,  rendered  in  a 
rather  high-keyed  scale  of  delicately  graded  tones.  The 
small  doll-like  figures  with  the  very  pink  flesh  tints,  the 

Ship  Scenes  Series — No.  V 

Aubusson.  Late  XVII I.  Century 


View  of  Gallery  64 


TAPESTRIES 


65 


fantastic  orientalism  of  some  of  the  personages,  and  the 
typical  Indian  of  the  eighteenth  century  imagination  are  all 
very  characteristic.  The  weaving  is  skilful,  particularly  the 
grading  of  tones  in  sea  and  sky. 

A  ffl 

No.  424.  W.  4'  6}£",  h.  8'  10".  Fourteen  warps  to  the  inch. Marked  •» 

Dated  1776. 

xa 

No.  425.  W.  4'  TYi",  h.  8'  10".  Fourteen  warps  to  the  inch.  Marked  •stA 
No.  426.  W.  8'  1",  h.  9'  1".  Fourteen  warps  to  the  inch. 

No.  427.  W.  7'  3",  h.  9'  0".  Fourteen  warps  to  the  inch. 

No.  428.  W.  4'  10",  h.  8'  10".  Fourteen  warps  to  the  inch. 


57o 


Kien  Lung  ( Chinese) 


IV 

RUGS 


PREFATORY  NOTE 
RUG  SECTION 

Tke  following  catalogue  of  the  rugs  has 
been  prepared  to  meet  the  needs  and  en¬ 
hance  the  enjoyment  of  the  average  visitor 
to  the  collection.  Oriental  rugs  are  of  high 
artistic  importance ,  yet  the  obstacles  in  the 
way  of  a  proper  knowledge  and  appreciation 
of  them  are  considerable.  Popular  interest 
in  them  is  always  keen ,  yet  the  experts  are, 
after  all,  few.  Accordingly,  it  has  been  felt 
that  instead  of  the  usual  merely  technical 
analysis  of  color  and  pattern,  a  more  infor¬ 
mal  treatment,  pointing  out  some  of  the 
easily  overlooked  features  of  good  rug  de¬ 
sign  and  exhibiting  something  of  its  depend¬ 
ence  upon  the  life  and  character  of  the 
weavers ,  would  be  both  more  interesting 
and  more  profitable. 

Those  familiar  with  the  writings  of 
Martin,  Bode,  Valentiner,  Mumford,  and 
Hawley  will  recognize  how  much  this  cata¬ 
logue  owes  to  their  work. 

To  Mr.  Hawley  special  thanks  are  due 
for  specific  suggestions. 


INTRODUCTION 

THE  INTEREST  IN  ORIENTAL  RUGS 

ORIENTAL  RUGS  have  long  found  high  and  increasing  favor 
in  the  Western  world.  Their  beauty  appeals  to  all;  their 
durability  and  investment  value  have  interested  the  prac¬ 
tically  minded ;  their  expression  through  ancient  and  mysterious  sym¬ 
bols  of  religious  faith  or  personal  experience  has  fascinated  the  im¬ 
aginative  ;  scholars  have  found  them  instructive,  and  artists  inspiring. 
Nowhere  in  recent  times  has  this  approval  and  interest  attained  such 
proportions  as  in  America.  For  years  New  York  has  imported  more 
Oriental  rugs  than  any  other  city  in  the  world,  with  the  possible 
exception  of  London.  The  houses  of  the  rich  are  carpeted  almost  ex¬ 
clusively  with  them,  and  even  modest  homes  frequently  boast  one  or 
two  pieces,  while  scores  of  collections  have  been  started  in  the  last 
twenty-five  years,  some  of  them  rivaling  the  best  in  the  world. 

Yet,  despite  this  general  enthusiasm,  despite  the  increasing  number 
of  excellent  books  about  rugs  and  the  increasing  number  of  serious 
students,  the  general  knowledge  and  the  average  taste  in  such  matters 
remain  deplorable.  This  is  due  largely  to  two  causes  :  in  the  first  place, 
we  were  in  this  country  at  the  outset  dependent  almost  solely  upon  the 
Oriental  dealers  for  information.  But  with  few  exceptions  their  knowl¬ 
edge  was  scant  and  disorderly.  What  they  did  not  know,  their  fertile 
imaginations  readily  supplied.  Early  corroborating  Mr.  Barnum’s  dis¬ 
covery  about  the  American  people,  they  set  afloat  enough  wild  and 
sentimental  tales  to  satisfy  the  most  credulous.  Some  American  dealers 
and  auctioneers  also  joined  in  this  campaign  of  romantic  mendacity 
until  the  high  merits  of  the  rugs  alone  saved  the  business  from  ex¬ 
tinction.  Although  the  advent  of  such  books  as  Mr.  Mumford’s  went 
a  long  way  toward  closing  this  era  of  misinformation  and  deception, 
much  of  the  bad  effect  has  persisted,  for  it  must  be  admitted  that  even 
with  the  most  brilliantly  written  book  it  is  difficult  to  acquire  a  satis¬ 
factory  knowledge  of  rugs.  One  needs  actual  observation  of  the  rugs 


7° 


INTRODUCTION:  RUGS 


themselves,  if  the  written  word  is  to  become  clear  and  dependable 
knowledge. 

If  the  dealers  were  at  first  responsible  for  misinformation,  the  dec¬ 
orators,  too,  were  partly  responsible  for  popularizing  poor  taste  in 
rugs.  The  Oriental  dealers,  it  must  be  said,  had  generally  shown  ex¬ 
cellent  taste,  frequently  much  above  that  of  their  customers,  and  their 
comments  were  often  aesthetically  illuminating.  This  is  more  than  can 
be  said  for  the  decorators  who  immediately  followed  them  as  counsel¬ 
ors  to  the  rug-buying  public.  Partly  in  reaction  from  the  crudities  of 
the  Victorian  “Age  of  Horror,”  and  partly  because  they  were  not  ac¬ 
quainted  with  the  decorative  possibilities  of  rugs  of  the  highest  type, 
they  turned  almost  unanimously  toward  insipid  colors  and  confused 
designs.  “Soft”  and  “harmonious”  tones  became  the  rage,  and  houses 
were  filled  with  rugs  that  were  weak  and  monotonous  in  color,  mean¬ 
ingless  in  pattern,  frequently  without  dignity  or  character,  and  having 
often  no  function  but  slavishly  to  reflect  the  previously  chosen  draper¬ 
ies  and  wall  coverings.  Rugs  of  such  independent  power  and  richness 
as  the  Oushak  (No.  537)  or  the  Souj-Rulak  (No.  504)  would  have 
scandalized  the  Miss  Nancys  of  ten  or  fifteen  years  ago,  while  even 
such  a  restrained  piece  as  the  Saraband  (No.  518)  would  have  pre¬ 
sented  an  uncomfortable  problem.  It  is  true  that  in  the  last  few  years 
interior  decoration  in  this  country  has  made  important  advance,  more 
and  more  are  turning  to  the  decorative  standards  set  by  the  Orient. 
But  the  work  of  their  predecessors  has  not  yet  been  undone.  Preten¬ 
tious  but  inferior  rugs  are  still  displayed  in  many  homes  where  the 
prestige  of  wealth  sanctions  their  mediocrity  and  social  position  per¬ 
petuates  tastelessness. 

Fortunately,  there  are  many  influences  operating  to  rescue  our  in¬ 
terest  in  rugs  from  ignorance  and  sentimentality  and  to  provide  that 
informed  appreciation  which  rugs  as  serious  works  of  art  deserve. 

ORIENTAL  RUGS  AS  FINE  ART 

But  we  can  never  understand  Oriental  rugs  if  we  treat  them  from 
the  point  of  view  of  commerce  or  utility,  or  even  if  we  consider  them 


INTRODUCTION:  RUGS 


71 


as  problems  in  household  decoration.  Many  people,  it  is  true,  are  ready 
to  regard  Eastern  rug-making  rather  patronizingly  as  an  interesting 
and  beautiful  craft,  one  of  the  important  minor  arts,  but  of  course  in¬ 
ferior  in  all  that  essential  aesthetic  power  which  endows  the  major  arts 
with  supreme  distinction.  Yet  even  here  we  are  far  from  the  truth. 
This  distinction  between  the  major  and  minor  arts  is  a  Western  inven¬ 
tion,  unknown  to  the  artistically  wise  East,  and  many  true  lovers  of 
art,  even  in  the  West,  have  long  suspected  that  the  distinction  between 
the  major  and  minor  arts  is  really  invidious  and  unnecessary;  that  the 
exalting  of  one  art  at  the  expense  of  another  is  profitless,  and  that 
beauty  of  a  supreme  order  may  be  found  in  humble  productions.  Peo¬ 
ple  in  general,  even,  have  at  last  come  to  realize  that  the  stained  glass 
of  Chartres  is  more  important  than  many  a  painting,  and  that  a  piece 
of  old  lacquer  may  excel  a  modern  poem.  But  that  a  small  colored 
woolen  carpet  should  be  ranked  with  a  fine  painting  or  sculpture,  or 
even,  in  some  cases,  clearly  surpass  them  in  both  commercial  and  aes¬ 
thetic  value — this  for  the  average  American  is  a  hard  saying.  He  is 
still  puzzled  to  hear  of  museums  paying  tens  of  thousands  of  dollars 
for  badly  worn  old  rugs,  and  is  frequently  irritated  to  find  them  ac¬ 
corded  a  dignity  and  honor  he  has  supposed  were  reserved  only  for 
the  greatest  treasures. 

The  full  justification  of  the  claim  of  Oriental  rugs  to  be  ranked 
with  man’s  most  important  artistic  achievements  would  involve  an 
elaborate  treatise  on  the  nature  and  meaning  of  art  itself.  But  the 
same  general  features  that  endow  any  artistic  creation  with  genuine 
greatness  will  be  found  present  in  high  degree  in  the  famous  old  car¬ 
pets.  Their  spacious  size,  velvety  texture,  the  variety  and  surpassing 
richness  of  their  colors  make  an  immediate  sensuous  appeal  that  is  ri¬ 
valed  by  few  arts.  In  abstract  design,  that  substructure  of  everything 
excellent  in  art,  Oriental  carpets  achieve  unchallenged  perfection. 
Their  patterns  are  conceived  with  a  subtlety  and  an  imagination  that 
seems  inexhaustible:  by  skilful  contrivance,  they  suggest  swift  and 
facile  motions  in  more  than  one  dimension  and  at  several  rates  of 
speed,  or  may  indicate  a  finely  co-ordinated  weight  and  mass  that, 


INTRODUCTION:  RUGS 


72 


while  static,  none  the  less  conveys  a  sense  of  well-poised  vigor,  or,  as 
in  some  of  the  greatest  pieces,  may  merge  static  balance  and  dynamic 
rhythm  in  a  torrent  of  harmonious  energy.  With  all  this  tremendous 
stimulation  of  color,  line,  and  mass,  there  is,  nevertheless,  that 
magical  repose  that  comes  from  the  perfect  balance  and  co-ordination 
of  all  factors.  For  all  these  elements  are  arranged  and  controlled 
by  certain  fundamental  and  universal  principles  of  order  that 
are  derived  from  the  structure  of  the  mind  itself.  Hence,  for  all 
their  excitement,  these  great  carpets  yield  a  sense  of  security  and  satis¬ 
faction.  They  are  strong  in  that  utter  inevitability  that  characterizes 
all  great  art.  Furthermore,  in  addition  to  these  perfections  of  form, 
they  are  in  a  high  degree  expressive.  Pattern  and  color  by  themselves, 
when  managed  by  genius,  have  the  power  eloquently  to  express  emo¬ 
tion  and  character.  In  this  regard  Oriental  rugs  are  rivaled  only  by 
the  finest  old  brocades  of  China  and  Japan.  Every  one  of  the  famous 
Imperial  Persian  carpets  of  the  sixteenth  century  conveys  deep  feeling 
with  power  and  directness.  The  sensitive  observer  is  overwhelmed  by 
the  grandeur  of  their  conception,  their  brilliant  and  lucid  rendering  of 
intricate  patterns,  their  combined  power  and  delicacy,  and  their  sump¬ 
tuous  coloring.1  No  wonder  that  William  Morris  said  of  them  that 
they  “fairly  threw  me  on  my  back.  I  had  no  idea  that  such  wonders 
could  be  accomplished  in  carpets.” 

But  the  artistic  importance  of  Eastern  rugs  is  no  recent  discovery, 
nor  was  the  fashion  of  collecting  them  set  by  American  captains  of 
industry.  A  number  of  the  royal  houses  of  Europe  have  been  acquir¬ 
ing  rugs  for  several  hundred  years,  and  they  have  only  followed 
the  sultans,  caliphs,  and  shahs  before  them,2  who  for  many  centuries 
have  regarded  their  great  rugs  as  among  their  choicest  possessions. 
Both  Homer  and  the  Bible  speak  of  these  carpets  with  greatest  defer- 


1See,  for  examples,  supplementary  plates  Nos.  i.,  u.,  v.,  and  ix. 

the  sixth  century,  the  Sassanian  king  Chosroes  I.  had  a  famous  carpet  that  even  then 
was  valued  at  the  equivalent  of  $775,000.  An  inventory  of  a  collection  belonging  to  one 
of  the  Caliphs  in  the  tenth  century  estimated  one  piece  alone  as  worth  $500,000,  while  a 
Mamaluke  prince  in  the  fourteenth  century  paid  seventy  thousand  pieces  of  silver  for 
a  single  rug. 


DRAWN  B1  ARTHUR  UPHAM  POPE 
TO  ILLUSTRATE  THE  COLLECTION  OF 
MRS  PHOEBE  APPERSON  HEARST 


jjq-jM  MAH-iU  ;UJHT-  ft  I' 

'•1-JIT03JJ03  JH I  .TIAHTKIUj 
-r:  !'V  'j;1  jiiirf  ' 


INTRODUCTION:  RUGS 


73 


ence.  Even  that  austere  critic,  Plato,  is  reputed  to  have  had  an  envia¬ 
ble  collection  of  rugs,  nearly  four  hundred  years  before  Christ.  Herod¬ 
otus  and  Pliny  knew  and  admired  Eastern  carpets.  The  Renaissance 
also  highly  esteemed  Oriental  weavings ;  there  is  a  long  list  of  famous 
painters  who  found  delight  and  inspiration  in  Oriental  rugs  and  em¬ 
ployed  them  frequently  as  important  accessories.3  Our  modern  critics 
and  connoisseurs,  who  have  hailed  them  with  all  the  enthusiasm  of 
the  discoverer  and  the  ardor  of  a  convert,  are  but  echoing  the  judg¬ 
ment  of  the  elect  of  many  ages.  By  them  all,  Eastern  carpets  have  been 
accounted  among  “the  master  products  of  human  inspiration.” 

ANCIENT  AND  MODERN  RUGS 

The  greatest  of  Eastern  carpets  were  designed,  and  even  woven,  by 
special  artists  generally  in  the  employ  of  royalty.  In  the  case  of  the 
Ardebil  Mosque  carpet,4  now  in  the  South  Kensington  Museum, 
we  have  the  name  of  the  weaver  inscribed,  Maksoud ;  but  in  prac¬ 
tically  all  other  cases  the  maker’s  name  is  unknown.  They  are 
worthy  members  of  that  fraternity  of  great  artists  who,  like  the  Gothic 
builders,  are  known  to  a  grateful  world  by  their  works  only.  The  car¬ 
pets  thus  woven  were  used  for  the  mosques,  or  for  the  thrones  and 
great  banqueting-halls  of  royal  palaces,  or  for  presentation  to  foreign 
potentates.  The  so-called  Polonaise  rugs,  for  instance,  astonishingly 
rich  silk  rugs  of  medium  size,  woven  in  soft  and  delicate  colors  and 
ornamented  with  a  good  deal  of  silver  and  gold,  were  apparently  made 
for  the  special  purpose  of  presentation  to  European  monarchs.5 


/n Eyck>  Hans  Memling,  Hans  Holbein,  Domenico  di  Bartolo,  Niccolo  di  Buonac- 
°  s°’  T%omas  de  Keyjer’  Jerard  David,  Lorenzo  Lotto,  Vittore  Carpaccio,  Rubens  Van 
Dyck,  Moya,  Codde Terborck,  Metsu,  Netscher,  Slingelant,  Vermeer,  Pieter  de  Hooch 
Eglon  Neer Franz  Mieris,  W .  Van  Mieris,  Troost,  Quinkhardt  Steen,  Van  Steenwyck' 
Jan  Brueghel,  Cornells  de  V os,  Bronckhorst,  Simon  de  Vos,  Frans  Francken  Schalken 
m<Hsk  Ehrenstrahl  Peter  Candid,  Peter  Cristus,  Var atari,  Fopp’a,  Crivelli’ 
Garbo,  Del  Libm,  Luca  Longhi,  Zubaran  are  among  the  most  notable.  ’ 

sevelefX,2iua/alnUngjb^  J*f-St  Van  Gee}.  owned  in  San  Francisco,  which  depicts  an  early 
seventeenth-century  Asia  Minor  rug  with  great  beauty  and  fidelity.  J 

atJnnfl f.lfr/r,lSmg  as  1t  ts  regrettable  that  modern  painters  in  searching  for  appropri¬ 
ate  and  helpful  accessories  should  have  so  persistently  neglected  this  field. 

*voLv™p.  396*hlS  fam0US  carpet  wiU  be  f°und  in  Hawley,  Mumford,  and  Encyc.  Brit., 

’"See  supplementary  plates  Nos.  vn.  and  vm. 


INTRODUCTION:  RUGS 


74 


It  is  these  artist-designed  rugs  we  have  in  mind  when  we  say  that 
Eastern  carpets  are  quite  worthy  of  ranking  with  the  more  famous 
fj  achievements  of  the  so-called  major  arts  of  music,  architecture, 
sculpture,  and  painting.  Of  the  many  carpets  that  were  especially 
designed  by  the  foremost  artists  in  the  greatest  epoch  of  rug-weaving, 
i  comparatively  only  a  few  now  exist.  There  are  some  extraordinarily 
fine  pieces  still  in  the  possession  of  Persian  royalty,  and,  as  Mr. 
Hawley  says,  what  some  of  the  great  mosques  may  yet  hold  no 
jj  Christian,  at  least,  knows.  Such  pieces  as  there  are  in  the  Western 
world  are  to  be  found  only  in  museums,  royal  palaces,  and  the  private 
collections  of  a  few  very  wealthy  or  very  discriminating  and  well- 
|  informed  buyers.  They  are  naturally  expensive.  In  auctions  they 
I  bring  as  high  as  forty  thousand  dollars,  while  in  private  sales  over 
sixty  thousand  dollars  has  several  times  been  paid  in  this  country; 
gossip  has  it  that  a  single  carpet  recently  brought  over  a  quarter  of  a 
|  million.  What  a  carpet  like  the  Ardebil  Mosque  rug  would  bring  at 
I  auction,  or  some  of  the  still  finer  carpets  of  the  Berlin  or  Vienna 
museums,  one  can  only  conjecture.  The  famous  hunting  carpet  of  the 
I  Rothschild  collection,  one  of  the  two  or  three  finest  carpets  in  the 
world,  which  was  sold  out  ot  the  Torrigiani  Palace  for  thirty  dollars, 

!  Dr.  Martin  estimated  to  be  worth  well  over  two  hundred  thousand 
j  dollars  ten  years  ago. 

But  the  glory  and  fame  of  Oriental  weaving  does  not  lie  merely 
I  with  these  magnificent  creations.  A  great  number  of  very  beautiful 
i  rugs,  chiefly  of  moderate  size,  has  been  produced  for  centuries 
!  throughout  nearly  the  whole  of  Western  Asia.  In  house,  tent,  hut,  or  in 
|  the  open  air,  nomads,  shepherds,  peasants,  artisans,  and  townsfolk 
;  have  labored  incessantly  at  rug-making.  Sustained  by  inherited  skill, 

|  directed  by  artistic  traditions  maturing  through  thousands  of  years, 
!  expressing  with  directness  and  spontaneity  their  own  deepest  experi¬ 
ences,  they  have  created  genuine  works  of  art  which  the  most  expen¬ 
sive  products  of  Western  looms  can  never  challenge.  With  all  the 
resources  of  European  civilization,  equipped  with  machinery,  steam- 
|  power,  chemistry,  and  unlimited  wealth,  the  modern  Western  carpet- 


INTRODUCTION:  RUGS 


75 


weaver  at  his  best  is  put  to  shame  by  a  little  Kurdish  maiden  weaving 
long  ago  on  the  slopes  of  some  cold  Armenian  mountain,  while  any 
twelve-year-old  boy  from  Tabriz,  Shiraz,  or  Samarkand  will  even 
today  weave  a  rug  that  makes  the  best  Savoneries  carpet  look  weak 
and  pretentious.  For  into  one  rug  goes  money  as  an  investment  with 
the  calculated  expectation  of  cash  returns ;  into  the  other  rug  goes 
loving  care,  concentrated  racial  genius,  sincere  and  intense  feeling. 
One  is  fine  art ;  the  other  never  can  be. 

The  period  of  supremest  creations  in  carpet-making  closed  forever 
with  the  eighteenth  century.  Yet  the  smaller  and  more  humble  weav¬ 
ings  held  their  own  until  well  into  the  middle  of  the  nineteenth  cen¬ 
tury,  when  the  blight  of  European  civilization  compassed  their  artistic 
ruin.  There  are  still  places,  fortunately  isolated  from  the  currents  of 
travel  and  commerce,  where  rugs  of  high  merit  are  occasionally  pro¬ 
duced,  but  even  these  are  fast  disappearing.  Now  rug-weaving  is 
organized  and  hopelessly  commercialized.  Western  business  methods 
have  done  their  worst.  Weavers  work  for  money,  and  work  in  haste, 
producing  rugs  according  to  stereotyped  patterns  that  are  dictated  to 
them.  Wool  and  dyes  are,  for  the  most  part,  selected  carelessly,  and 
no  feeling,  no  ideas,  no  experiences  of  the  individual  weaver  enter 
into  the  weaving.  Where  a  family  previously  produced  one  rug  in  a 
year  or  two,  they  may  now  make  ten,  and  the  results  show  a  corre¬ 
sponding  decrease  in  quality.  Perhaps  the  saddest  examples  of  degen¬ 
eration  are  the  Ghiordes  and  Oushaks  among  Turkish  rugs,  Shirvan 
and  Karabagh  among  the  Caucasian,  and  the  so-called  Kermanshahs 
among  the  Persian.  Some  weavings,  like  the  Joshaghans,  have  ceased 
almost  entirely,  having  perished  honorably  without  compromise  or 
loss  of  reputation. 

In  most  of  these  modern  pieces  the  designs  are  frequently  clumsy 
and  confused,  and  the  colors  harsh  and  so  ill-combined  as  to  be  in 
their  initial  state  raw  and  disagreeable.  Strong  measures  are  necessary 
to  conceal  these  crudities  and  adapt  the  colors  to  the  American  demand 
for  softness.  So  an  elaborate  system  of  cosmetics  has  been  devised. 
Oxalic  acid,  various  chlorine  solutions,  ink,  and  paint,  to  say  nothing 


INTRODUCTION:  RUGS 


76 


of  lemon  juice,  mud,  wax,  vaseline,  glycerine,  and  hot  irons,  are 
vigorously  applied.  These  remedies  do  produce  a  considerable  im¬ 
provement  in  the  appearance  of  the  rug,  but  the  effect  is  only  super¬ 
ficial  and  often  at  the  expense  of  durability.  Some  of  the  recent  im¬ 
proved  processes,  like  the  so-called  ‘  saffron  dip,  do  not  noticeably 
injure  its  wearing  qualities,  and  they  impart  such  an  agreeable 
mellow  glow  to  the  rug,  resembling  so  nearly  certain  antique  effects, 
that  even  dealers  themselves  are  supposed  to  have  been  deceived. 

The  Kashans  and  Sarouks,  and  occasionally  Kermans,  are  more 
carefully  woven,  being  often  executed  with  considerable  technical 
skill,  and- of  such  excellently  blended  colors  that  little  “washing”  is 
necessary.  They  are  often  rich  and  luxurious  in  appearance.  But  even 
here  the  spirit  has  departed,  and  to  one  accustomed  to  old  pieces  they 
seem  hopelessly  artificial.  They  have  insufficient  character  to  support 
their  pretentiousness,  they  express  no  sincere  or  spontaneous  feeling, 
and  their  finery  sometimes  seems  a  bit  tawdry.  But  even  with  all  this 
melancholy  degeneration  from  their  former  high  estate,  Oriental  rugs 
of  today  are  nevertheless  vastly  superior  to  Western  machine-made 
carpets  both  in  beauty  and  durability.  Something  of  the  ancient  tradi¬ 
tion  still  sustains  them,  and  a  flavor  of  noble  lineage  manages  to 
redeem  many  a  rug  from  vulgarity. 

VALUE  OF  AN  EXHIBITION  OF  OLD  RUGS 

There  are,  perhaps,  two  reasons  why  in  America  Oriental  carpets 
have  not  as  yet,  despite  our  interest  and  delight  in  them,  been  general¬ 
ly  accorded  their  proper  due  as  one  of  the  fine  arts.  One  reason  is  our 
common  distrust  of  abstract  design.  That  mere  pattern,  mere  balance 
and  distribution  of  expressive  form,  however  subtle  and  imaginative, 
even  when  combined  with  novel  and  luxurious  color  schemes,  of  them¬ 
selves  may  constitute  one  of  the  utmost  achievements  of  art,  is  for 
many  still  a  strange  idea.  Decoration  is  generally  regarded  as  wholly 
subordinate  to  some  substantial  use ;  and  if  rugs  are  not  primarily 
for  use,  and  if  they  do  not  directly  reveal  some  human  story,  or  con¬ 
vey  through  recondite  symbols  mysterious  meanings,  what  are  they 


INTRODUCTION:  RUGS 


77 


for*?  Even  now,  in  the  case  of  the  present  collection,  more  people  will 
take  a  more  delighted  interest  in  the  five  fascinating  little  men  in  the 
Kazak  No.  554  than  in  the  powerfully  balanced  contrast  between 
border  and  field.  The  former  is  familiar  and  engaging;  the  latter 
requires  a  more  thoughtful  appreciation,  more  of  that  disinterested 
feeling  which  is  essential  to  pure  aesthetic  joy. 

The  second  reason  why  Oriental  carpets  are  not  appreciated  at  their 
full  value  is  because  the  general  public  in  America  has  had  little 
opportunity  of  seeing  those  pieces  of  the  highest  type  which  are  worthy 
of  ranking  as  fine  art.  We  cannot  be  expected  to  understand  and  prize 
what  we  have  not  seen.  It  is  true  that  rugs  and  carpets  from  the 
Orient  are  sold  in  prodigious  quantities  in  America,  and  that  many  of 
them' are  very  rich  and  gorgeous  in  appearance,  yet  it  is  also  true  that 
they  bear  but  a  dim  resemblance  to  great  rugs  of  early  times.  Even 
when  the  old  pieces  are  copied,  no  great  art  is  achieved.6  As  well 
“copy”  a  Stradivarius. 

The  only  proper  preparation  for  the  appreciation  of  Eastern  car¬ 
pets  of  the  highest  type  is  the  opportunity  for  constant  observation  of 
great  examples.  But  such  pieces  are  not  commonly  to  be  seen  in  this 
country.  Only  museums  or  highly  favored  individuals  can  hope  to 
possess  them,  and  since  all  our  museums,  compared  to  those  of 
Europe,  are  very  young  and  generally  poor,  they  have  as  yet  been 
able  to  acquire  little  or  nothing  in  the  way  of  rugs.  Only  two  museums 
in  this  country,  the  Metropolitan  in  New  York  and  the  Museum  of 
Fine  Arts  in  Boston,  have  collections  of  any  considerable  merit,  and 
even  these  cannot  compare  with  a  dozen  European  collections.  Only 
once  at  the  Metropolitan  Museum,  in  1910,  has  a  loan  exhibition  of 
importance  been  held  in  this  country.  It  is  true  there  have  been  some 


6 Some  strenuous  efforts  have  recently  been  made  to  revive  the  old  weaving.  The  former 
Sultan  of  Turkey,  Abdul  el  Hamid,  set  up  some  well-endowed  and  well-managed  facto¬ 
ries  at  Hereukei.  The  best  workmen  available  were  summoned  atid  put _  to  work  copying 
fine  old  pieces  from  the  royal  collection.  Several  European  firms  have  in  similar  fashion 
secured  some  superior  weaving  in  various  parts  of  Persia,  but,  handsome  as  these  pieces 
are,  they  have  failed  to  capture  the  full  glory  of  the  old  rugs,  and  even  at  best  they 
are  so  few  in  number  and  so  expensive  that  they  have  as  yet  contributed  little  to  the 
elevation  of  public  taste  in  rugs. 


78  INTRODUCTION:  RUGS 

very  fine  private  collections  in  America.  The  Marquand,  the  Altman, 
the  Morgan  collections  compared  favorably  in  quality  with  the 
famous  private  collections  in  Europe,  while  the  Yerkes  collection, 
now  unhappily  dispersed,  was  perhaps  the  finest  assemblage  of 
Persian  rugs  gathered  by  one  person  in  modern  times.7 

Exhibitions  of  good  rugs  are  thus  very  uncommon  in  this  country, 
yet  they  are  essential  to  an  appreciation  of  one  of  the  noblest  of  the 
arts.  If  this  collection  is  studied  with  the  care  it  deserves,  it  will  make 
an  important  contribution  to  the  artistic  education  of  the  community 
and  will  be  for  many  the  discovery  of  a  new  art. 

Such  an  exhibition  is  valuable  not  merely  because  it  is  the  best 
introduction  to  the  appreciation  of  rugs,  but  because  it  serves  an  even 
more  fundamental  purpose.  Design  is,  after  all,  the  basis  of  all  things 
excellent  in  art,  and  in  Oriental  textiles  abstract  design  has  been 
carried  to  a  point  of  supreme  perfection,  and  many  of  the  essential 
principles  of  artistic  form  receive  in  rug  design  their  highest  and 
most  illuminating  expression.  Here  one  sees  variety  without  con¬ 
fusion,  unity  without  monotony.  Elegance  and  strength  are  perfectly 
synthesized,  and  many  apparently  incompatible  elements  are  tri¬ 
umphantly  resolved.  Plere  one  finds  balance,  rhythm,  and  harmony 
yielding  impressively  beautiful  effects,  independent  of  the  adventi¬ 
tious  aids  of  sentiment  or  utility,  and  pure  form  shines  forth  with  its 
own  proper  power  and  splendor.  Such  a  display  is  wholesome  and 
inspiring  to  student,  to  artist,  and  to  public.  For  without  an  under- 


7 There  are  still  some  important  private  collections  in  America  that  may  some  time  be 
available  for  the  general  public  in  their  entirety.  C.  F.  Williams  of  Norristown,  has.  in 
addition  to  his  other  pieces,  perhaps  the  best  collection  of  early  Asia  Minor  pieces  owned 
anywhere.  James  F.  Ballard,  of  St.  Louis,  has  a  rich  collection,  particularly  strong  in 
Ghiordes  pieces.  George  F.  Baker,  of  New  York;  Charles  R.  Crane,  of  Chicago;  Henry 
C  Frick  of  Pittsburgh;  Theodore  M.  Davis,  of  Newport;  James  Ellsworth  of  hew 
York;  John  D.  Mcllheny,  of  Philadelphia;  Mrs  Herbert  L  Pratt,  of  Brooklyn;  Dr. 
Denman  Ross,  of  Cambridge ;  P.  M.  Sharpies,  of  West  Chester,  Pa. ,  P.  A.  B.  , 

of  Philadelphia;  Mrs.  Henry  O.  Havemeyer,  of  New  York;  and  H  O.  Payne  of  New 
York  all  have  notable  rugs.  Ex-Senator  Clark  is  reputed  to  have  paid  upward  of 
million  dollars  for  a  sumptuous  collection,  while  many  individuals  own  a  few  superb 
pieces  that  ought  some  time  to  see  the  light  of  common  day  m  public  museums.  H'S  re¬ 
grettable  that  there  are  disproportionately  few  rugs  of  importance  in  California.  Among 
several  excellent  pieces.  Mr.  W.  H.  Crocker  has  a  splendid  late  ^Xtt'c  MerAt^of 
from  North  Persia;  Mr.  W.  B.  Bourn  has  a  fine  Herat;  Mr.  Hewlett  C  M ernt,  of 
Pasadena,  has  an  admirable  general  collection;  while  Mrs.  Frank  Havens,  of  Oakland, 
has  some  enviable  Chinese  pieces. 


INTRODUCTION:  RUGS 


79 


standing  of  the  fundamental  principles  of  form  popular  taste  is 
likely  to  remain  sentimental  and  provincial,  while  the  more  sophisti¬ 
cated  taste  is  liable  to  be  victimized  by  any  irresponsible  vagary.  To 
understand  design  in  great  rugs  is  to  know  better  all  the  principles 
of  aesthetic  form,  and  to  find  therein  expressed  deep  emotion  that  is 
also  a  disciplined  and  rationalized  emotion  is  to  be  wholesomely  re¬ 
minded  that  mere  intensityof  feeling  can  never  produce  important  art. 

Another  humble  though  considerable  service  is  performed  by  an 
exhibition  of  good  rugs.  Not  only  does  it  give  us  concrete  assistance 
in  identifying  rugs,  but  the  old  pieces  are  almost  literally  the  models 
upon  which  modern  copies  are  based.  Since  there  is  a  considerable 
difference  in  merit  among  modern  rugs,  acquaintance  with  these  older 
pieces  familiarizes  us  with  the  standard  type,  enables  a  wiser  and 
sounder  choice,  makes  us  more  exacting,  and  reinforces  all  those  none 
too  strong  tendencies  that  are  at  work  trying  to  bring  present-day 
weaving  back  to  something  of  its  former  excellence.  If  the  ignorant 
and  superficial  taste  qf  the  West,  w'ith  its  demand  for  quick  and 
cheap  effects,  was  one  of  the  causes  that  expedited  the  ruin  of  a  great 
art,  a  wiser  taste  may  contribute  something  to  its  restoration. 

THE  STUDY  OF  RUGS 

If  a  study  of  rugs  is  both  interesting  and  important,  it  is  also,  if 
undertaken  seriously,  a  difficult  and  many-sided  task,  and  not  many 
can  hope  to  qualify  as  experts.  If  they  can  know  nothing  of  England 
“who  only  England  know,”  the  same  is  equally  true  of  Oriental  rugs. 
Whoever  aspires  to  a  complete  understanding  of  them  must,  like 
Bacon,  take  all  knowledge  for  his  province.  Familiarity  with  the 
famous  classical  pieces  is  of  course  assumed,  and  an  acquaintance 
with  the  main  types  of  modern  rugs,  such  as  can  be  acquired  only  by  a 
good  deal  of  actual  handling,  is  almost  indispensable.  A  ready  and 
accurate  knowledge  of  the  geography  of  Western  Asia,  to  say  nothing 
of  its  confused  and  tormented  history,  and  the  character,  periods,  and 
distribution  of  its  culture,  is  an  elementary  necessity.  Equally  import- 


/ 


INTRODUCTION:  RUGS 


80 


ant  is  the  ethnology  of  these  peoples,  their  great  migrations,  their 
religions,  with  its  various  symbols,  practices,  and  ideals,  their  cus¬ 
toms  and  superstitions,  their  daily  life.  All  these  must  be  interpreted 
with  sympathy,  for  if  we  are  fully  to  understand  these  wonderful 
weavings  we  must  endeavor  to  see  life  and  the  world  through  the  eyes 
of  the  Oriental  designer.  Furthermore,  an  acquaintance  with  the  con¬ 
temporary  and  allied  arts  is  essential  to  the  proper  identification  and 
dating  of  early  pieces.  Nor  is  it  safe  to  ignore  the  more  prosaic  matters 
of  technical  construction :  knowledge  of  dyes  and  the  various  processes 
of  weaving  is  a  prime  requisite.  Finally,  an  independent  knowledge 
of  the  principles  of  aesthetic  form  will  help  in  the  interpretation  of 
design,  and  a  trained  and  catholic  taste  is  necessary  for  a  consistently 
just  appreciation.  Needless  to  say  such  qualifications  have  never  been 
united  in  one  human  being;  Dr.  Wilhelm  Bode,  Dr.  Friedrich  Sarre, 
and  Dr.  F.  R.  Martin  most  nearly  approach  this  ideal. 

CLASSIFICATION  AND  IDENTIFICATION 

There  are  about  seventy-five  pretty  well-defined  rug  types,  divided 
for  sake  of  easy  classification  into  six  general  divisions,  corresponding 
roughly  to  the  main  rug-producing  regions  and  races  :  Caucasus,  Turk¬ 
ish  (or,  better,  Asia  Minor),  Persian,8  Central  Asiatic  (or  Turkoman), 
Chinese,  and  Indian.  Each  of  these  main  types  has  certain  easily 
learned  dominant  characteristics.  To  this  list  might  be  added  the  now 
rare  Hispano-Moresque  carpets  that  were  woven  in  Spain  and  Portu¬ 
gal  in  the  fifteenth  and  sixteenth  centuries. 

The  Caucasus  rugs  are  uniformly  geometrical  in  design ;  the  figures 
are  detached  and  rather  stiffly  and  crisply  drawn,  and,  with  the  ex¬ 
ception  of  the  Kazaks,  which  sometimes  attain  a  ferocious  brilliance, 
and  the  fiery  old  Karabaghs,  the  colors  are  sober,  sometimes  to  the 
point  of  meagreness.  Clarity  and  precision  are  the  typical  excellences 
of  these  weaves,  and  the  appearance  of  a  jewel-like  mosaic  seems  to  be 


8 Including  Kurdistan;  for  although  much  of  Kurdistan  (an  ethnological  rather  than  a 
political  division)  lies  within  the  Turkish  Empire,  its  rugs  are  nevertheless  usually  classed 
as  Persian. 


502 


Animal  Carpet.  Tabriz 


503 


Herat  (So-called  Ispahan ) 


INTRODUCTION:  RUGS  81 


their  highest  ideal.  Sometimes  they  may  be  very  bold,  sometimes 
drawn  with  great  elegance  and  delicacy,  as  in  the  case  of  the  Daghes¬ 
tan  prayer-rugs  Nos.  548  and  549,  but  they  are  always  firmly  defined 
and  cleanly  drawn.  Occasionally,  as  in  rugs  Nos.  546  and  547,  we 
find  a  Caucasus  weaver  essaying  floral  patterns ;  Bakus,  occasionally 
Shirvans,  and  rarely  Kabistans,  may  employ  the  palm-leaf  or  pear 
motive,  but  in  their  treatment  of  figures  there  is  always,  except  in  the 
case  of  some  of  the  Bakus  and  the  early  Kubas,  a  pathetic  insuffi¬ 
ciency.  The  rendering  is  hard  and  angular,  and  one  feels  the  weaver 
to  be  quite  out  of  his  element.  But  whether  floral  or  purely  geometric, 
it  is  always  easy  to  find  one’s  way  about  in  the  design  of  a  Caucasus 
rug,  for,  although  it  may  be  intricate,  it  is  never  confused.  The 
brilliance  of  definition  is  attained,  not  only  by  the  sharp  accuracy  of 
the  drawing,  the  careful  balance  of  design,  and  the  well-planned 
points  of  emphasis,  but  also  by  the  liberal  use  of  white  as  a  back¬ 
ground  color,  which,  by  virtue  of  the  strong  contrast  and  the  many 
sharp  angles,  frequently  gives  the  rug  great  animation. 

In  the  great  period  of  the  seventeenth  and  eighteenth  centuries, 
there  were  produced  in  the  Caucasus,  chiefly  in  the  Kuba  region,  car¬ 
pets  that  had  much  the  effect  of  the  great  Persian  rugs.  Sometimes 
the  colors  were  deep  and  intense  and  the  field  richly  crowded  with 
floral  motives  that  gave  a  magnificent  effect.  But,  despite  the  feeling 
of  a  rich  and  easy  profusion,  the  designs  were  composed  entirely  of 
separate  figures  joined,  if  at  all,  by  abrupt  angular  lines.  Yet  so 
perfect  were  the  balance  and  distribution,  so  adroit  the  emphasis,  that 
out  of  these  stiff  little  figures  were  composed  sumptuous  designs  that 
did  honor  to  the  more  famous  prototypes.9 

Asia  Minor  or  Turkish  rugs  are  more  genial  in  tone  and  feeling. 
The  colors  are  softer  and  richer,  the  rugs  thicker  and  more  glossy, 
the  component  figures  are  rarely  so  small,  and,  except  in  the  case  of 
Ghiordes  and  Kulah  prayer-rugs,  and  the  very  early  Oushaks,  never 
so  finely  drawn.  The  Asia  Minor  designer,  for  the  most  part,  likes 

‘Rug  No.  546  is  a  good  example  of  this  type.  See,  also,  a  particularly  magnificent  frag¬ 
ment  illustrated  in  N eugebauer ,  p.  43. 


INTRODUCTION:  RUGS 


82 


ample  open  spaces  and  broad  simple  treatment.  The  elements  of  the 
design  are  still  detached,  although  not  so  sharply  as  in  Caucasus  rugs, 
while  if,  as  in  the  case  of  some  border  motives,  the  figures  are  con¬ 
nected,  it  is  in  an  abrupt,  stiff  sort  of  way  that  suggests  the  novice. 
But  the  Asia  Minor  weavers  were  by  no  means  novices,  and  if  their 
patterns  were  not  connected  by  sinuous  and  subtle  curves  with  all  the 
suggestion  of  movement  and  excitement  characteristic  of  the  Persian 
weaves,  it  was  because  they  preferred  the  simple  forthright  statement 
as  more  expressive  of  their  own  temperament.  Asia  Minor  rugs  are 
superb  in  color,10  and  they  frequently  achieve  a  novel  and  seemingly 
impossible  blend  of  colors  that  is  surprisingly  beautiful.11  The  weav¬ 
ers  of  Konia  and  Bergamo  particularly  revel  in  potent  compounds  of 
maroon,  green,  ruby,  and  cobalt  that  are  almost  vocal.  The  closely 
drawn  prayer-rugs,  particularly  the  Ghiordes,  might  at  first  sight  seem 
to  be  something  of  an  exception  to  these  principles,  but  a  careful  ex¬ 
amination  will  reveal  the  figures  detached  and  on  the  whole  broadly 
drawn,  while  a  simple  undecorated  panel  of  considerable  area  nearly 
always  occupies  the  centre  of  the  rug.  The  alert  and  rather  aggressive 
Caucasus  weavers  would  hardly  have  been  capable  of  such  calm  re¬ 
straint.12 

The  summit  of  glory  of  Oriental  weaving  has  by  common  consent 
been  accorded  to  Persia.  In  the  rugs  of  the  greatest  period  we  find 
that  Persian  designs,  with  but  few  exceptions,  are  floral :  long  swing¬ 
ing  vines  connecting  gorgeous  blooms,  in  rich  and  varied  curves, 
intricate  foliage  rendered  naturalistically  yet,  with  supreme  consider- 
eration  of  design,  dispersed  in  general  patterns  that  defy  description 
or  concentrated  in  actual  or  suggested  medallions,  always  marvel¬ 
ously  balanced,  brilliantly  imagined,  and  carefully  planned,  with  a 
vast  array  of  motives  held  in  perfect  control  by  a  dominating  concep¬ 
tion.13  These  characteristics  will  be  found  in  less  degree  in  Persian 

10For  example,  see  Nos.  525,  536-538,  in  this  collection,  and  the  dazzling  Ladik  in  Hawley’s 
book,  p.  190. 

uSee,  for  example,  the  Yuruk  piece  No.  544. 

uThe  comparison  of  the  Daghestan  prayer-rugs  with  those  from  Asia  Minor  will  be  found 
most  instructive. 

™See,  for  example,  supplementary  plates  Nos.  1.,  11.,  v.,  vi. 


INTRODUCTION:  RUGS 


S3 


weaving  of  today.  In  some  places,  as  in  the  regions  of  Hamadan,  Mo¬ 
sul,  and  Northern  Kurdistan,  the  designs  are  plain  and  often  the 
figures  are  partially  detached,  suggesting  Asia  Minor  design,  but 
the  connections  between  the  elements — -if  not  in  the  field,  at  least  in  the 
border- — are  sure  to  be  close ;  the  motives  will  be  in  part  floral,  and 
there  will  surely  be  easy  curves  somewhere.  The  commonest  exception 
to  these  principles  will  be  found  in  some  of  the  rugs  from  Southern 
Persia,  particularly  around  Niris  and  Shiraz.  But  these  pieces  are 
almost  sure  to  have  either  a  glossy  blue-black  background,  found  in 
no  Turkish  weavings,  or  they  will  have  a  particolored  overcasting  on 
the  sides. 

The  Central  Asiatic  group  contains  the  familiar  Bokharas  and  their 
allied  weavings,  with  rather  set  tile  patterns  and  deep  red  or  plum- 
colored  tones,  the  Beluchistans,  predominantly  glossy  blue,  and  the 
Samarkands,  which  have  only  a  geographical  kinship  with  Turko¬ 
man  weaving,  their  derivation  and  inspiration  being  wholly  Chinese. 

Chinese  rugs  are  so  strongly  characteristic  that  they  are  at  once 
easily  recognized.  They  are  distinguished  by  their  simplicity  yet  rich¬ 
ness  of  color  and  their  rather  formal  and  sedate  treatment.  Yellows, 
blues,  and  golden  red  are  the  predominant  tones. 

Indian  pieces  hardly  need  description.  Although  not  very  rare  in 
England,  there  are  probably  not  twenty  antique  pieces  of  high  merit  in 
America.  The  modern  commercial  weavings,  while  no  doubt  service¬ 
able  and  good-looking,  are  without  interest  from  the  artistic  point  of 
view.  The  ancient  Indian  carpets  were  very  much  like  the  Persian 
pieces,  by  which  they  were  largely  inspired.  They  rendered  floral  and 
animal  motives  with  a  fineness  and  accuracy  that  even  the  Persians 
could  not  excel.  Their  tendency  to  over-realistic  treatment  frequently 
compromised  the  general  design,  an  easy  error  which  the  great  Persian 
weavers  scrupulously  avoided. 

After  the  general  class  is  determined,  the  next  task  is  properly  to 
identify  and  name  the  various  types.  This,  for  many  reasons,  is  a 
difficult  task,  for  rugs  are  not  consistently  named.  They  are  some¬ 
times  called  after  the  tribes  that  weave  them,  as  in  the  case  of 


INTRODUCTION:  RUGS 


84 


Kazaks,  Yuruks,  Yomuds,  who  have  no  settled  habitations.  More  j 
often  rugs  are  named  after  the  city  or  village  where  they  are  woven, 
as  Ladik,  Bergamo,  Tabriz,  Hamadan.  In  other  cases  the  district 
gives  the  name,  as  Shir  van.  Sometimes  rugs  are  named  after  a  racial  ■ 
division,  as  Kurdistan,  or  from  a  whole  country,  like  Baluchistan, 
while  Chinese  rugs  are  now  generally  named  after  the  dynastic 
period  in  which  they  were  woven.  Often  the  names  of  localities  have 
been  corrupted,  as,  for  example,  in  tne  case  of  Saraband  rugs,  which 
are  woven  in  Sarawan.  Other  rugs  have  received  names  merely  from 
the  point  of  export,  such  as  Bokharas.  Sometimes  traders  have  fast¬ 
ened  upon  rugs  names  that  stand  for  no  locality,  like  Guenje,  which, 
according  to  Mr.  Mumford,  is  merely  a  term  for  all  rag  and  tag  ends 
of  rugs  not  otherwise  easily  classifiable  that  are  shipped  from  Kliza- 
betpol.  In  the  case  of  modern  or  contemporary  rugs,  the  names  are 
often  quite  artificial.  Some  pretty  or  romantic  name  may  be  invented 
in  a  New  York  office  and  applied  to  the  product  of  some  special  factory. 

Despite  the  relative  stability  of  Oriental  habits  and  the  continuity 
of  technical  tradition  in  rug-weaving,  none  the  less  many  perplexing 
cases  present  themselves  to  the  student  of  rugs.  Where  migrations  ; 
and  wars  and  forceful  abductions  of  whole  populations  have  taken 
place,  they  have  resulted  in  a  veritable  babel  of  rug  designs.  We  have 
Chinese  dragons  in  Armenian  carpets ;  in  both  Shiraz  and  Niris  rugs 
we  find  medallions  that  belong  to  China ;  the  serrated  leaf  and  wine- 
cup  border  that  is  probably  indigenous  to  the  Shirvan  weavers  m  the  | 
Caucasus  appears  perfectly  done  in  Mosul,  Souj-Bulak,  Bijar,  Gore-  ; 
van,  and  even,  though  more  crudely,  in  Niris  rugs  ;  the  rose  of  Kerman 
has  reappeared  in  certain  Lesghian  rugs  of  the  North  Caucasus,  in  the 
borders  of  Karabaghs  woven  farther  to  the  south,  and  even  in  the  field 
of  a  Chinese  rug  owned  by  the  Tiffany  Studios  ;  while  practically  every 
pattern  known  to  Western  Asia  is  skilfully  appropriated  by  the  versa¬ 
tile  Persian  Kurds.  Rugs  will  sometimes  be  woven  in  the  technique  of  ; 
one  community  out  of  the  wool  of  another,  with  dyes  and  design  char¬ 
acteristic  of  still  a  third.  In  such  a  case,  who  shall  confer  a  name  ‘i 

But  the  student  is  forewarned  against  migrating  designs  and 
plagiaristic  weavers.  Much  more  trouble  is  created  by  the  incalculable 
inspiration  of  some  gifted  and  independent  soul  who  finds  the  tradi- 


INTRODUCTION:  RUGS  85 


tional  modes  insufficient  for  some  novel  insight  or  stirring  experi¬ 
ence,  or  by  the  improvisations  of  some  eccentric  nomad,  or  the  anxiety 
of  some  pilgrim  to  Mecca  to  exceed  all  common  offerings.  Further 
difficulties  arise  when  we  come  upon  old  rugs  from  some  community 
or  region  that  never  produced  much  and  now  produces  nothing  at  all. 
In  the  case  of  early  rugs  it  is  often  quite  out  of  the  question  to  say 
precisely  where  they  were  woven,  and  in  the  catalogues  of  the  great 
collections  we  find  the  foremost  experts  in  the  world  modestly  content 
to  name  the  rug  merely  by  the  country  and  the  century. 

The  general  practice  of  experts  concerning  modern  rugs  is  to  regard 
the  technical  construction  as  the  deciding  feature.  The  character  of  the 
end  and  side  finishings,  the  relative  position  of  the  warp  strings,  the 
material,  size,  number,  and  color  of  the  weft  threads,  the  length  of  the 
pile,  and  the  tightness  of  the  knotting  must  all  be  carefully  examined 
in  doubtful  cases.  Color,  the  dyes,  the  quality  of  wool,  and  the  kind  of 
wool  would  be  of  second  importance,  while  design,  so  generally  relied 
upon  by  the  novice,  would  rank  only  third.  In  the  case  of  very  early 
'rugs  this  practice  is  reversed. 

The  identification  of  Chinese  rugs  presents  a  specially  difficult 
problem.  They  never  occupied  the  position  of  importance  in  Chinese 
art  that  they  did  in  the  art  of  Western  Asia.  They  always  ranked 
secpndary  to  painting  and  porcelain  and  were  woven  in  comparatively 
few  numbers.  There  are  few  records  to  guide  us,  few  specialized 
schools  of  weaving,  and  very  few  striking  epochal  changes  or  racial 
events  that  assist  so  considerably  in  the  identification  of  Persian  and 
Turkish  rugs.  A  variety  of  schemes  of  identification  has  been  pro¬ 
posed.  Chinese  rugs  have  been  named  after  the  subject  depicted,  and 
for  a  while  we  heard  about  Lion  rugs,  Dog  rugs,  Fish,  Deer,  and 
Horse  rugs,  or  rugs  named  after  the  various  flowers.  This  was  soon 
seen  to  be  quite  trivial.  Very  little  advance  is  made  in  the  Tiffany 
Studios  catalogue,  which  names  rugs  variously  according  to  color, 
pattern,  or  purpose.  We  find  listed  a  Gold  and  Azure  rug,  a  Swallow- 
Myth  rug,  a  Magistrate’s  rug,  a  Happiness  rug,  a  Five-Medallion 
rug,  or  a  Persimmon-color  rug.  This  is,  of  course,  hopeless  confusion. 
Nor  has  there  been  much  success  in  the  effort  to  date  rugs  by  their 
localities.  Some  have  presumed  to  distinguish  Tien-tsin  from  Pekin 


INTRODUCTION:  RUGS 


86 


rugs,  and  both  from  Shantung  and  Manchurian  rugs,  while  others 
have  thought  to  identify  rugs  from  Nanking  and  Canton,  but  the 
process  was  too  dubious  to  carry  any  conviction.  Although  the  modern 
practice  is  to  classify  Chinese  rugs  according  to  the  periods  in  which 
they  were  woven,  even  this  is  exceedingly  difficult.  As  Mr.  Mumford 
said,  “There  are  persons  who  will  name  a  period  for  any  Chinese  rug. 
I  believe  more  of  these  are  wrong  than  right.” 

But  the  actual  naming  of  the  rug  is  only  the  first  step  in  adequate 
understanding.  The  age  of  the  rug,  the  purpose  for  which  it  is  woven, 
the  conditions  of  its  weaving,  its  meaning  and  significance  for  the 
weavers,  are  all  of  substantial  importance. 

DATING  OF  RUGS 

The  cool  way  in  which  the  expert  assigns  a  rug  to  its  proper  time  (quite 
commonly  to  a  quarter  of  a  century,  even  in  very  old  pieces,  and  often 
to  the  very  year)  has  rather  mystified  the  uninitiated.  A  rug  has  no  teeth 
to  examine,  nor  rings  to  count.  How,  then,  this  amazing  precision  ?  The 
methods  are  fairly  simple  after  all,  and,  while  they  do  require  knowl¬ 
edge,  skill,  and  practice,  there  is  nothing  so  miraculous  about  them. 

The  surest  way  of  determining  the  age  of  a  rug  is  by  the  dating 
itself,  for  in  many  pieces  we  find  woven  the  date  of  the  weaving  and 
Occasionally  the  name  of  the  weaver.  The  most  famous  of  all  the  signed 
and  dated  rugs  is  the  Ardebil  Mosque  carpet  in  the  South  Kensington 
Museum,  woven  by  Maksoud  of  Kashan,  and  completed  in  154°.  In 
the  National  Museum  in  Zurich  there  is  an  embroidered  copy  of  a 
Holbein  rug  dated  1533.  Two  noted  Asia  Minor  carpets  of  the  Oushak 
type,  now  in  possession  of  the  Duke  of  Buccleigh,  are  dated  1584  anc^ 
1585,  respectively,  and  another  of  quite  different  character,  although 
(also  Oushak,  dated  1605,  is  in  possession  of  Baron  Imre  Szalay,  in 
Budapest.  There  is  an  Asia  Minor  rug  of  the  Holbein  type  in  the 
South  Kensington  Museum,  dated  1603.  Mr.  James  F.  Ballard,  of 
St.  Louis,  has  an  important  Ghiordes  prayer-rug  dated  1604.  There  is 
an  Armenian  carpet  illustrated  by  Martin  dated  1684.  Dating  in  the 
eighteenth  and  nineteenth  centuries  is  fairly  common,  particularly  in 
the  Caucasus  rugs.  In  the  present  collection  there  are  three  dated  rugs  : 
the  Feraghan  carpet,  No.  517,  dated  1763,  the  Daghestan  prayer-rug, 


INTRODUCTION:  RUGS  87 


No.  548,  dated  1827,  and  the  Bergamo  prayer-rug,  No.  534,  dated 
1838.  A  dated  rug  at  once  becomes  a  point  of  reference,  and  by  careful 
comparisons  the  age  of  many  related  rugs  can  be  determined. 

But  even  this  apparently  sure  method  has  to  be  used  with  caution.  It 
has  been  the  custom,  since  antiques  became  the  rage,  falsely  to  date  rugs 
that  are  afterward  to  be  “antiqued”  by  various  processes.  In  old  rugs 
that  are  already  dated  the  dating  may  be  easily  changed  to  a  much 
earlier  figure  by  alteration  of  a  few  knots,  while  in  some  cases  an  en¬ 
tirely  new  date  may  be  inserted  and  toned  so  skilfully,  generally  by 
scorching,  that  only  an  experienced  observer  could  discern  it. 

Another  way  of  determining  the  age  of  rugs  is  by  existing  written 
records.  For  instance,  in  1634  the  Girdlers  Company  of  London  ordered 
woven  at  Lahore  a  large  carpet  inscribed  with  the  coat  of  arms  of  the 
Master,  Robert  Bell.14  This  handsome  and  famous  rug  is  the  only  old 
rug  from  India  that  can  be  precisely  dated.  Other  records  help  us  to 
place  other  important  rugs.  The  Coronation  carpet  in  the  Royal  Castle 
of  Rosenborg,  near  Copenhagen,  was  presented  to  the  Danish  Court 
by  the  Shah  of  Persia  in  1639*  and  one  of  the  Polonaise  rugs  in  the 
Treasury  of  St.  Marks  is  recorded  as  a  gift  to  the  Doge  of  Venice  by 
Shah  Abbas  in  1603. 

N ext  to  the  actual  dating  and  contemporary  records,  old  rugs  are  best 
dated  by  means  of  European  paintings.  Many  painters  of  the  Renais¬ 
sance,  especially  the  sixteenth-century  Venetians  and  the  seventeenth- 
century  Dutch  and  Flemish  painters,15  painted  rugs  with  such  care 
that  their  works  have  become  the  most  reliable  guides  for  dating  sev¬ 
eral  important  rug  types.  For  example,  the  fresco  in  the  hospital  at 
Sienna  by  Domenico  di  Bartolo  represents  a  rug  similar  to  the  famous 
Dragon  and  Phoenix  carpet  of  the  Kaiser  Frederick  Museum.  As  we 
know  that  the  fresco  was  painted  about  1440*  we  know  that  rugs  of 
this  type  were  produced  earlier,  and  since  the  Berlin  piece  is  rare  to 
uniqueness  and  has  all  the  marks  of  archaic  workmanship,  and  since 
it  presents  purely  Chinese  motives  in  Asia  Minor  workmanship,  the 
conclusion  is  pretty  certain  that  it  was  woven  in  the  fourteenth  cen- 


Pictures  of  this  carpet  will  be  found  in  the  Encyc.  Brit.,  vol.  v.,  p.  307,  and  in  the 
Journal  of  Indian  Art  and  Industry,  vol.  xi.,  frontispiece. 
llF or  list,  see  footnote  No.  3,  p.  7. 


88  INTRODUCTION:  RUGS 


tury,  shortly  after  the  Mongol  invasion  of  the  West.  Paris  Bordone 
gives  a  beautiful  representation  of  an  Oushak  carpet  in  the  “Doge 
and  Fisherman,”  while  Holbein  frequently  painted  the  Caucasus-like 
rugs  that  have  been  named  after  him.  In  the  “Portrait  of  George 
Gyze”  one  is  rendered  with  especial  clarity  and  completeness.  Know¬ 
ing  the  approximate  date  of  the  paintings,  we  have  a  sure  date  before 
which  rugs  of  the  type  must  have  been  woven. 

The  age  of  a  rug  may  also  be  partly  determined  by  the  modification 
of  colors  due  to  long  exposure  to  light  and  air.  Under  ordinary  condi¬ 
tions,  in  the  course  of  about  one  hundred  years,  certain  reds  and  yel¬ 
lows  in  Chinese  rugs  become  slightly  grayish  at  the  surface.  It  might 
seem  an  easy  matter  to  determine  these  fading  rates  and  by  a  simple 
scale  calculate  the  age  of  the  rugs,  but  the  process  is  difficult  and  un¬ 
reliable.  Some  colors  fade  rather  rapidly,  like  the  purple  that  occasion¬ 
ally  appears  in  some  Asia  Minor  rugs.  Others,  like  the  deep  red  tones 
of  the  early  Armenian  Dragon  rugs,  ascribed  by  Martin  to  the  four¬ 
teenth  or  fifteenth  century,  seem  not  to  have  faded  at  all,  while,  on  the 
whole,  the  Chinese  colors  fade  more  rapidly  than  Persian.  Not  only 
are  the  dyes  different  for  different  communities,  but  they  may  be  dif¬ 
ferent  in  the  same  locality.  Some  careless  process  or  some  unfavorable 
turn  in  the  weather  at  a  critical  moment  in  the  dyeing  may  be  just  suf¬ 
ficient  to  loosen  an  otherwise  fast  dye,  while  fading,  again,  may  be 
almost  wholly  a  matter  of  exposure.  One  Chinese  rug  of  twenty-five 
years  of  age  that  has  been  exposed  to  strong  sunlight  may  look  more 
antique,  even  to  the  practiced  eye,  than  some  fresh  and  brilliant  piece 
that  may  have  been  hanging  in  some  dimly  lighted  temple,  never 
touched  by  a  single  ray  of  sun ;  while  three  famous  rugs  formerly  in 
the  Mosque  of  Alla-al-Din,  at  Konia,  which  have  always  been  jeal¬ 
ously  preserved  even  from  light,  still  look  almost  crudely  fresh,  al¬ 
though  Dr.  Martin  thinks  that  they  date  from  the  thirteenth  century. 
Furthermore,  the  mellowing  effect  of  age  upon  color  is  now  skilfully 
imitated  by  various  chemical  treatments.  A  sheen,  somewhat  resem¬ 
bling  the  lustre  of  antiques,  can  now  be  imparted  to  any  rug  for  fifteen 
cents  a  square  foot.  These  effects  are  convincing  only  to  the  novice, 
and  if  practiced  observation  be  wanting,  there  is  a  number  of  ready 
devices  for  determining  the  chemically  treated  fabric. 


INTRODUCTION:  RUGS 


89 


More  reliable  as  an  indication  of  age  than  the  modification  of  colors 
1  through  exposure,  is  the  erosion  of  the  wool  due  to  the  quality  of  the 
dye  itself.  Some  dyes,  like  the  black  of  Asia  Minor  rugs  and  the  green 
of  the  Feraghan  rugs,  corrode  the  wool  with  comparative  rapidity. 
Others,  like  certain  blues  and  yellows,  preserve  the  wool.  Consequently, 
an  old  rug  presents  a  very  uneven  surface,  appearing  almost  to  be  em¬ 
bossed,16  as,  for  example,  in  the  Oushak  No.  537.  Both  here  and  in  the 
Souj-Bulak,  No.  504,  the  black  is  eaten  away.  This  is  due  to  the  com¬ 
bination  of  citric  acid  and  iron  oxide  in  the  dye,  which  tends  to  disinte¬ 
grate  the  wool  on  mere  exposure  to  air,  while  the  red  and  blue  dyed 
wool  is  still  fresh  and  luxuriant.  So  sure  an  index  of  age  is  this  irregu¬ 
larly  corroded  surface  that  one  of  the  favorite  devices  of  the  fakir  is  to 
clip  the  various  colors  unevenly  or  to  wear  them  down  with  a  fine  point 
of  pumice-stone.  Although  it  is  known  that  fully  seventy-five  years, 
under  ordinary  conditions,  would  be  required  for  the  white  in  a  fine 
figure  to  be  reduced  measurably  below  the  blue  of  a  surrounding  area, 
as  in  the  palm-leaf  figure  in  the  Saraband  No.  519,  yet  even  here  one 
has  to  be  cautious.  Unless  one  can  determine  by  other  considerations 
what  the  wear  and  exposure  have  been,  this  method  cannot  be  too 
completely  trusted. 

Design  in  rugs,  when  taken  in  conjunction  with  other  evidence,  and 
even  sometimes  by  itself,  is  one  of  the  most  important  clues  to  the 
age  of  a  rug.  By  means  of  comparisons  with  the  designs  of  carvings, 
faience,  miniatures,  illuminated  manuscripts,  velvets  and  brocades, 
pottery  and  porcelain,  the  dates  of  which  may  be  specifically  ascertain¬ 
able,  we  are  able  to  determine  the  approximate  age  of  rugs  that  repeat 
the  same  motives.  Then,  again,  we  get  general  hints  from  the  political 
or  social  conditions.  The  imperial  styles  are  closely  followed  in  the 
provinces  which  are  under  royal  dominion,  and  as  power  and  luxury 
decline  we  see  a  corresponding  deterioration  in  weaving.  Again,  the 
evolution  of  design  may  give  us  some  clue,  for,  conservative  as  Eastern 
weavers  are,  repeating  the  same  patterns  year  after  year  with  appar¬ 
ently  little  modification,  a  survey  of  any  considerable  period  shows 

™ln  the  cas.e  °f  most  Chinese  rugs  this  effect  is  deliberately  produced  for  (esthetic  pur¬ 
poses  by  clipping  when  the  rug  is  made.  In  a  simply  designed  rug  it  lends  a  good  deal 


INTRODUCTION:  RUGS 


90 


nevertheless  certain  tendencies  steadily  at  work.  As  an  age  becomes 
impoverished  in  artistic  invention,  and  as  its  weavers  become  careless 
in  execution,  these  tendencies  are  conspicuously  revealed.  The  clearly 
drawn,  vital,  and  significant  patterns  of  the  earlier  age  gradually  be¬ 
come  stiff  and  lifeless,  conventionalized  out  of  all  resemblance  to  their 
original  inspiration.  The  laws  governing  the  evolution  of  design  are 
being  worked  out,  and  are  trustworthy  guides  to  the  approximate  dat¬ 
ing  of  many  pieces.  This  method  is  pretty  reliable  for  the  rugs  of 
Western  Asia,  but  far  less  trustworthy  in  the  case  of  Chinese  pieces, 
for  there  we  find,  despite  the  changing  taste  of  various  periods,  that 
earlier  rugs  are  reproduced  with  a  fidelity  that  is  quite  confusing. 

If  there  seem  to  be  disappointingly  few  rugs  in  this  collection  for 
which  centuries  of  age  are  claimed,  that  is  not  because  there  is  any 
lack  of  genuine  antiques  here,  but  because  there  has  been  a  marked 
tendency  everywhere  until  recently  extravagantly  to  antedate  rugs. 
Dealers  have  a  commercial  interest  in  this,  and  collectors  have  too 
frequently  consulted  their  own  vanity  and  their  hopes,  while  some  of 
the  first  writers  on  rugs  were  perhaps  over-impressed  by  the  marvelous 
tales  they  heard  in  the  Orient,  a  region  where  antiquity  as  such  is 
especially  honored.  Even  such  able  and  expert  work  as  that  of  Dr. 
Martin  has  not  escaped  criticism,  and  it  is  now  the  consensus  of 
opinion  that  many  of  his  attributions  even  are  altogether  too  early. 

RUGS  AS  EXPRESSIVE  OF  RACIAL  CHARACTER 
AND  EXPERIENCE 

Intimate  contact  with  the  life  and  spirit  of  the  people  is  a  source  of 
power  for  any  art.  It  was  perhaps  essential  to  the  greatness  of  Greek 
sculpture,  and  from  the  personal  support  of  each  individual  in  the  me¬ 
diaeval  community  came  something  of  the  grandeur  of  the  Gothic  cathe¬ 
dral.  But  in  both  these  supreme  arts  the  chief  work  was  done  by  a  few 
exceptionally  trained  and  endowed  persons.  Not  so  with  Oriental  rugs  ; 
they  are  the  product  of  the  entire  community.  Almost  every  human  be¬ 
ing  in  the  rug-producing  countries  is  capable  of  weaving.  From  infancy 
they  are  educated  in  the  local  traditions  of  design  and  weave.  Hence 
every  rug-weaver  has  the  constant  inspiration  of  an  expert  audience, 


INTRODUCTION:  RUGS 


9* 


and  where  the  entire  community  so  industriously  engages  in  a  single 
purpose  technical  perfection  is  necessarily  a  common  achievement. 

But  more  important  perhaps  than  this  common  inspiration  are  the 
spontaneity  and  directness  with  which  this  art  expresses  a  people’s 
life.  For  not  only  are  rugs  woven  by  everybody,  everywhere,  but  they 
are  also  woven  for  every  occasion.  There  are  rugs  for  the  marriage 
celebration  and  for  death  as  well,  rugs  for  dowry  and  rugs  for  prayer, 
rugs  for  welcoming  the  guest,  rugs  for  foreign  embassies  and  rugs  for 
presentation  to  prince  or  mosque.  There  are  banqueting-rugs,  victory- 
rugs,  and  rugs  for  penance.  In  China  there  are  rugs  for  the  traveler, 
rugs  for  the  scholar,  and  rugs  to  celebrate  official  promotion.  These 
rugs,  moreover,  are  in  varied  and  constant  use,  not  something  to  be 
displayed  on  occasion,  saving  in  the  case  of  the  guest-rug,  but  some¬ 
thing  to  be  intimately  and  constantly  employed.  They  are  not  woven 
to  be  trodden  on  merely,  but  for  wall  decoration,  for  the  covering  of 
beds,  divans,  and  tables,  and  in  the  cold  highlands  they  make  admir¬ 
able  sleeping-bags.  Indeed,  no  art  of  equal  dignity  and  importance 
has  ever  sprung  so  directly  from  the  heart  of  a  people. 

Moreover,  in  rug-making  is  concentrated  the  whole  capacity  for  ar¬ 
tistic  expression.  For  the  most  part,  the  rug-weaving  peoples  have  had  a 
meagre  literature,  their  architecture,  with  the  exception  of  a  few  periods 
and  places,  is  rather  scanty,  and  the  tenets  of  a  strict  Mohammedanism 
forbid  pictorial  art.  So  into  this  one  narrow  and  intense  channel  of  tex¬ 
tile  weaving  has  been  poured  most  of  the  deep  feeling  and  ardent  ex¬ 
periences  of  an  emotional  and  imaginative  people.  Such  concentration 
of  whole  races  over  great  periods  of  time  is  destined  to  achieve  some¬ 
thing  imposing,  for  here,  if  ever,  art  is  the  immediate  vehicle  of  life. 

Ever  since  Sir  George  Birdwood’s  too-often-quoted  remark  about  a 
deep  and  complicated  symbolism  pervading  all  Eastern  carpets,  many 
have  thought  to  find  this  life-record  in  strange  and  recondite  char¬ 
acters,  and  have  felt  that  this  record  itself  constituted  the  chief  excel¬ 
lence  of  the  carpet. 

Now,  of  course,  it  is  true  that  the  designs  of  Oriental  rugs  are,  or 
were  once,  deeply  symbolic.  Symbolization  has  always  had  a  strong 
hold  in  the  Orient,  and  there  is  probably  not  one  of  the  many  devices 
that  we  see  even  in  the  most  modern  of  rugs  that  did  not  originally 


INTRODUCTION:  RUGS 


9-" 


indicate  some  deep  experience  or  some  moving  idea.  Thus  the  earliest 
weavings  were  crowded  with  a  significance  that  must  have  impressed 
every  beholder  who  could  read  its  meanings.  There  are  those  who  hold 
today  that  even  the  modern  Oriental  rug  is  but  a  book  written  in 
strange  charactery  from  which  the  initiated  can  read  off  the  life-story 
or  the  religious  aspiration  of  some  humble  weaver.  Such  claims  make 
the  judicious  grieve. For,  while  it  is  true  that  practically  all  the  patterns 
had  in  their  inception  some  meaning,  these  meanings  have  been  almost 
wholly  lost  in  the  hundreds  of  centuries  that  have  rolled  between  us 
and  their  first  devising.17 

Symbolization,  however,  has  never  been  the  controlling  purpose  in 
rug-weaving.  The  great  carpets  have  always  been  infinitely  more 
than  hieroglyphics.  From  the  very  outset  characters  and  symbols  have 
been  subordinated  to  aesthetic  effect,  so  much  so  that  even  in  the  case 
of  inscriptions  it  is  commonly  impossible  to  decipher  them.  The  white 
figures  in  the  field  of  the  Hamadan  No.  516  are  letters  so  highly  con¬ 
ventionalized  that  no  one  can  read  them  now,  nor  could  they  have 
had  any  meaning,  as  writing,  even  to  the  original  weaver.  Expression, 
not  communication,  beauty,  not  literal  record,  has  been  the  faithful 
and  consistent  aim  of  Oriental  designers  from  earliest  times  ;  and  if  we 
in  the  West  do  not  know  the  meaning  of  these  symbols,  no  more  do  the 
weavers  themselves.  Age  has  dimmed  the  tradition,  and  decorative 
necessity  has  so  altered  the  devices  that  they  can  be  read  with  no  surety. 

An  excellent  example  of  the  authority  of  the  decorative  intent  is 
cited  by  Mrs.  Eliza  Dunn,  who  found  one  of  the  Mohammedan  tribes 
in  the  Caucasus  weaving  crosses  into  their  rugs.18  Every  one  of  them 
would  rather  have  perished  than  have  perpetuated  the  hated  symbol  of 
Christianity,  but  they  had  seen  a  cross  in  some  rug — a  rather  brisk  and 
fetching  figure,  easy  to  work  and  pleasant  to  behold.  So  they  did  not 
hesitate  to  mingle  crosses  with  the  accustomed  and  orthodox  designs. 
Even  as  early  as  the  fifteenth  century  some  designs  lost  their  meanings, 
for  the  knots  at  the  points  of  the  large  stars  in  several  of  the  early 
Oushak  carpets  are  quite  remote  from  conscious  symbolization.  This 

17 Many  patterns  can  be  traced  back  even  to  Chaldean ,  Babylonian,  and  early  Egyptian 
times,  while  Hiitite,  and  Ph&nician  symbols  have  also  been  definitely  identified . 

18Mrs .  Eliza  Dunn ,  Rugs  in  Their  Native  Land,  p,  126. 


INTRODUCTION:  RUGS 


93 


knot,  later  called  the  knot  of  destiny,  and  now  most  often  found  in 
Soumak  rugs,  is  a  Buddhist  symbol,  emblematic  of  memory,  imported 
into  Asia  Minor  by  the  Mogul  invasion.  It  occasionally  appears  quite 
intact  in  modern  Chinese  embroidery.  Any  Mohammedan  would  rather 
have  burned  his  fingers  off  than  to  have  tied,  knowingly,  this  emblem 
of  an  idolatrous  race.  But  it  was  pretty,  and  it  might  bring  good  luck, 
so  why  be  precise  about  the  meaning  ? 

Some  symbols  we  do  know  with  considerable  surety.  The  magnificent 
“S”  figure,  to  be  seen  in  the  spandrels  of  the  Ghiordes  prayer-rug  (No. 
528)  and  in  the  border  of  the  Souj-Bulak  (No.  504),  which  appears 
sometimes  in  Konias  and  Bergamos,  is  a  very  ancient  symbol  of  the 
Deity.  The  blue  spandrels  of  the  prayer-rug  are  typical  of  heaven,  the 
eternal,  and  the  infinite.  The  eight-pointed  star  symbolizes  the  Deity ; 
the  tarantula,  regeneration.  The  comb,  shown  particularly  in  the  bor¬ 
der  of  No.  504,  is  the  Mohammedan  symbol  for  cleanliness.  The  lion 
indicates  dominion,  victory.  The  colors  themselves  are  significant :  red 
nearly  everywhere  standing  for  joy  and  festivity.  But  the  chief  inter¬ 
est  in  these  symbols  is  for  the  history  of  ornament.  It  is  clear  that 
they  have  little  except  decorative  significance  for  weavers  of  recent 
times  in  Western  Asia. 

In  the  case  of  Chinese  rugs,  however,  we  can  read  the  symbols  quite 
completely.19  But  even  here  beauty  comes  first  and  an  explicit  written 
message  second. 

No  great  art  can  be  primarily  symbolic.  Only  if  an  art  express 
emotion  directly  by  its  own  unique  and  proper  means  can  it  attain  to 
any  considerable  aesthetic  excellence.  Judged  by  this  Aristotelian  test, 
Oriental  carpets  are  supremely  successful.  The  history  of  art  affords 


wTo  cite  a  few  examples:  A  five-claw  dragon  signifies  royal  power;  a  horse  denotes 
travel;  the  stork,  deer,  and  pine  tree  alike  imply  longevity;  wild  goose,  messenger ;  two 
geese,  matrimonial  felicity;  the  Ky-lin,  gentleness,  loving-kindness.  A  jar  is  the  emblem 
of  peace.  Since  the  Persian  word  for  lion,  which  was  taken  over  into  Chinese,  is  pro¬ 
nounced  like  the  word  for  teacher,  and  for  the  same  reason  the  lion  dogs  have  come  to 
mean  teacher  or  guardian.  The  word  for  "bat”  is  pronounced  the  same  as  the  word  for 
prosperity;  hence  the  bat  stands  for  good  fortune.  Similarly,  two  fish  indicate  abundance. 
In  general,  the  butterfly  stands  for  something  gay  and  beautiful;  the  peony  for  riches; 
the  wild  plum  indicates  a  hermit  scholar;  the  apricot-blossom,  a  bride;  the  peach-flower 
stands  for  longevity,  while  the  peach  itself,  as  in  America,  denotes  a  beautiful  young 
girl.  The  scholar  is  indicated  by  four  symbols — the  lyre,  the  chessboard,  the  book,  and 
the  scroll.  Even  the  Greek  key  borders  have  their  meaning;  resembling  an  endless  chain, 
they  stand  for  eternity  or  a  long  life. 


INTRODUCTION:  RUGS 


94 


few  examples  that  compete  with  Oriental  textiles  in  an  emotional 
power  and  suggestiveness  that  is  based  on  pure  design.  They  tell  their 
story  or  impart  their  mood,  not  by  means  of  literary  characters  or 
recondite  symbols,  but  primarily  by  the  direct  contagion  of  noble  color 
and  expressive  line,  and  this  power  of  immediate  and  sincere  expres¬ 
sion,  without  adventitious  assistance,  is  one  of  the  main  sources  of  the 
artistic  greatness  of  Oriental  weavings. 

Oriental  carpets  not  only  display  the  inner  life  of  a  people ;  they 
recount  their  external  fortunes  as  well.  Not  only  do  the  racial  char¬ 
acter,  the  common  religion,  and  the  ordinary  life  show  themselves 
clearly  in  rug  design,  but  the  great  historical  epochs  are  marked  viv¬ 
idly  and  exactly.  Wealth,  luxury,  and  political  power  are  reflected  in 
rich  and  magnificent  patterns,  and  the  extension  of  imperial  dominion 
is  easily  traceable  in  the  weavings  that  follow  the  conqueror.  At  the 
height  of  Persian  sway,  we  find  in  far-outlying  provinces,  such  as  the 
Caucasus,  weavers  assiduously  striving  for  the  effects  in  vogue  at  the 
capital,  although  the  native  technique  and  material  are  quite  unsuited 
to  the  imperial  sumptuousness.  Even  hostile  Turkey  begins  to  weave 
after  Persian  fashion.  From  Herat  in  Central  Asia  to  the  mountains 
of  Armenia,  from  the  Caucasus  in  the  north  to  Shiraz  and  the  Persian 
Gulf  on  the  south,  carpets  take  up  the  imperial  story  and  proclaim 
with  eloquence  the  glories  of  the  great  Shahs. 

More  specific  events,  even,  are  recorded  by  rug  design.  For  a  thou¬ 
sand  years  Western  Asia  has  been  vexed  and  tormented  with  wars, 
revolutions,  migrations,  and  devastating  invasions.  Every  one  of  these 
is  traceable  in  the  contemporary  textile  designs.  The  Moguls  sweep 
through  Western  Asia  in  the  twelfth  century,  and  we  find  the  Arme¬ 
nian  carpets  of  the  succeeding  period  depicting  dragons,  or  even,  as 
in  the  case  of  the  Armenian  rug  of  the  Berlin  Museum,  the  fighting 
phoenix  and  dragon,  generally  called  the  Ming  coat  of  arms.  Again, 
in  the  sixteenth  century  the  Persian  empire  comes  into  close  commer¬ 
cial  intercourse  with  China,  and  we  find  as  a  result  Chinese  cloud- 
bands  appearing  as  a  favorite  device  in  the  rugs  of  this  period. 

Even  the  fate  of  certain  tribes  is  thus  revealed.  In  the  early 
eighteenth  century,  tradition  has  it,  Nadir  Shah,  who  moved  com¬ 
munities  of  weavers  about  like  so  much  personal  baggage,  transferred 


INTRODUCTION:  RUGS 


95 


several  tribes  from  the  Laristan  province  in  the  south  of  Persia  to 
the  Caucasus  region  on  the  shores  of  the  Caspian  Sea.  Whether  this 
was  done  as  a  punishment  or  to  improve  the  stock  by  race  mixture  and 
transplanting,  is  a  matter  of  conjecture;  both  have  been  suggested. 
Even  this  tale  is  vividly  told  by  certain  rugs  of  this  region.  The  pre¬ 
dominant  design  of  those  of  the  Laristan  province20  is  a  large  pear- 
shaped  pattern,  commonly  called  “the  crown-jewel  device,”  worked 
against  a  dark  background,  while  the  border  is  more  often  than  not  a 
band  of  diagonal  particolored  stripes.  This  became  the  prevailing 
device  of  Baku  rugs,  the  region  where  these  exiles  settled.  Although 
the  materials  and  the  construction  are  very  different,  and  the  design 
adroitly  adapted  to  the  materials  and  the  prevailing  spirit  of  the 
region,  it  is  still  the  original  design  of  South  Persia  and  a  beautiful, 
almost  pathetic,  recollection  of  the  early  life  and  abode  of  the  weavers. 
By  the  shores  of  the  Caspian  they  may  have  wept,  but  their  hands  did 
not  forget  their  cunning. 

Arthur  Upham  Pope. 


20See  rugs  Nos.  522  and  525. 


96 

PERSIAN 

5°i 

A. 

PERSIAN  RUGS 

BORDER  FRAGMENT  FROM  CARPET  OF 
NORTHWEST  PERSIA.  About  1320.  o'7"x2'3". 

This  fragment  is  probably  one  of  the  oldest  pieces  of  Per¬ 
sian  weaving  in  existence.  It  belongs  to  one  of  the  exceed¬ 
ingly  rare  carpets  woven  probably  in  Northwest  Persia  dur¬ 
ing  Mogul  times.  The  only  entire  carpet  of  this  period  now 
existing  is  owned  by  Mr.  Williams.1  This  fragment  is, 
saving  in  the  arrangement  of  colors,  exactly  like  the  border 
of  his  carpet.  There  is  a  large  fragment  from  a  carpet  of 
similar  sort  in  the  Kaiser  Frederick  Museum  in  Berlin,  and 
one  of  considerably  later  workmanship  in  Naseby  House, 
Sweden.  Fragments  of  this  same  piece  are  in  the  Imperial 
Household  Museum,  Tokyo,  the  Rhode  Island  School  of 
Design  in  Providence,  and  in  the  possession  of  Mr.  John 
Kimberly  Mumford.  The  arguments  for  dating  the  pi,ece  in 
the  early  fourteenth  century  are  given  in  detail  by  Martin.2 

Although  the  piece  was  woven  well  before  the  Persians 
attained  the  mastery  of  rich  floral  forms  and  easy  intricate 
curves,  it  none  the  less  has  a  good  deal  of  dignity  and 
force.  The  colors  are  in  themselves  beautiful  and  well 
blended,  the  design,  although  archaic  and  rather  severe,  is 
strong  and  direct  and  of  the  type  that  permanently  satis¬ 
fies.  It  has  that  genuineness  which  often  attaches  to  primi¬ 
tive  art  but  which  is  so  frequently  lacking  in  the  more  self- 
conscious  work  of  the  sophisticated  artists  of  later  times. 

But  the  piece  is  not  only  valuable  for  its  beauty  and 
historical  interest ;  it  is  also  important,  as  it  sets  at  rest  the 
disputed  question  concerning  shading.  Everyone  must  have 
noticed  the  bands  of  changing  color  that  run  across  some 

-A  good  half-tone  illustration  of  Mr.  Williams’ s  carpet  will  be  found  in 
Hawley  (p.  64).  Further  illustrations  in  color  are  in  Martin.  Discussions 
will  be  found  in  Hawley  (p.  ?8),  and  in  Martin  (pp.  45,  46). 

‘lDr.  Friedrich  Sarre  and  Dr.  Meyer-Riefsdahl,  however,  attribute  these 
carpets  to  the  early  sixteenth  century. 

RUGS 

97 

rugs.  The  explanation  generally  given  of  these  shadow 
bands,  or  “abrashes,”  as  the  Persians  call  them,  is  that  the 
weaver  exhausted  the  wool  of  one  shade  and  found  it  diffi¬ 
cult  to  procure  more  of  precisely  the  same  tone.  Further 
changes  of  color,  it  is  said,  indicate  further  failures  of  sup¬ 
ply.  Although  this  explanation  has  the  sanction  of  some 
experts,  and  although  it  may  occasionally  be  true  for  mod¬ 
ern  and  carelessly  woven  rugs,  it  is  not  true  for  antiques. 
To  charge  the  subtle  and  accurate  weavers  of  older  times 
with  such  lack  of  foresight  is  to  underestimate  their  artistic 
competence. 

These  color  bands  are  deliberately  conceived  for  aesthetic 
effect.  The  device,  here  shown  in  its  primitive  simplicity, 
carries  clear  conviction  that  it  was  employed  to  soften  the 
hard  severity  of  a  pattern  which  the  weavers  did  not  know 
how  to  relieve  by  the  ordinary  means  of  complex  drawing. 
That  these  small  lines  of  dark  blue  are  deliberate,  and  in 
no  sense  substitutes  or  makeshifts,  is  shown  by  the  imme¬ 
diate  resumption  of  the  exact  shade  of  the  original  color, 
evidently  from  the  same  skein.  An  almost  equally  primitive 
employment  of  the  same  device  is  to  be  found  in  the  Mosul- 
Kurd  rug  No.  506. 

Later  designers  only  amplified  this  manner  of  treatment, 
and  the  lustrous  band  across  the  Souj-Bulak  (No.  504), 
which  so  richly  beautifies  the  whole  composition,  is  but  this 
same  device  writ  large. 

COLORS:  Leaf-forms  in  gold  and  blue,  palmette  in  white,  red  and  black, 
small  figures  and  guard  stripe  in  green,  all  on  red  field.  Narrow  border 
red  figures  on  white  background. 

WEAVE:  Warp  and  weft  cotton.  Weft  very  fine,  crossing  twice  alter¬ 
nately  over  and  under  between  each  row  of  knots.  Knot,  Ghiordes;  seven¬ 
teen  vertically  and  thirteen  horizontally  to  the  inch. 

ANIMAL  CARPET  (Tabriz,  Persian).  Early  XVI.  Cen¬ 
tury.  5' 6"  x  6' 10". 

Although  at  first  sight  not  the  most  engaging  rug  in  the 
collection,  it  is  undoubtedly  the  most  important,  for  it 
comes  very  close  to  the  supremest  period  in  carpet-weaving. 

At  first  sight  the  colors  may  seem  a  little  harsh.  This  is 

<-  1  — 

502 

<?<? 

PERSIAN 

partly  because  the  surface  is  badly  worn,  and  such  strong 
and  independent  colors  need  a  rich  pile  to  carry  them  off 
successfully.  The  total  effect  is  also  hampered  because  of 
the  incompleteness  of  the  rug.  For  it  is  only  a  splendid 
fragment,  hardly  half  its  original  size.  We  have  here  only 
the  ends ;  the  central  medallion  is  entirely  missing.  As  the 
rug  now  hangs,  it  has  been  divided  through  the  middle 
from  top  to  bottom,  and  joined  with  exemplary  skill. 
While  the  rug  is  not  so  fine  in  weaving  as  the  more  famous 
imperial  carpets  that  would  have  been  woven  by  the  most 
renowned  weavers  of  the  day,  it  is  none  the  less,  both  in 
design  and  execution,  superbly  done.  Note  the  magnificent 
way  in  which  the  difficult  corners  are  turned,  always  a 
severe  test  for  a  weaver,  but  with  this  difficult  border  device 
doubly  hard. 

The  animals  are  drawn  with  considerable  vivacity.  Best 
of  all  is  the  clear  and  delicate  way  in  which  the  spiral  ten¬ 
drils  are  managed.  The  interweaving  cloud-bands  describe 
a  contrary  but  perfectly  harmonious  motion,  sweeping 
gracefully  in  another  dimension  and  at  a  different  rate 
of  speed.  The  border  presents  some  further  contrasts. 
The  powerfully  undulating  figure,  expressive  of  utmost 
energy  and  force,  is  rhythmically  held  at  rest  by  equally  1 
strong  palmettes  of  opposite  color,  each  one  a  beautiful  de-  i 
sign  worthy  of  careful  study,  while  the  delicate  connecting 
vines  offer  a  third  kind  of  color,  movement,  and  interest. 

For  all  the  imposing  power  of  this  border,  its  richness  and 
variety,  it  is  quite  free  from  the  common  offense  of  con-  ; 
fusion  and  extravagance.  It  is  everywhere  lucid  and  con¬ 
trolled,  eloquent  of  strong  feeling,  sober  planning,  and  J 
rich  artistic  invention. 

There  is  a  very  similar  rug  in  the  Metropolitan  Museum, 
acquired  from  the  Yerkes  Collection,  and  another,  also 
fragmentary,  of  richer  design,  and  certainly  much  later, 
in  the  South  Kensington  Museum.  These  rugs  are  of  finer 
weave,  but  that  would  prove  only  that  the  patron  who  or¬ 
dered  this  piece  was  for  some  reason  inclined  to  be  a  bit 

- -  - - 1 

RUGS 


99 


economical,  which,  as  Martin  indicates,3  was  of  rather  com¬ 
mon  occurrence.  With  time  and  proper  support  the  weaver 
of  this  rug  could  have  accomplished  as  much  as  almost  any 
of  his  contemporaries. 

It  has  been  suggested  that  the  lancet  leaves  that  appear 
so  profusely  in  later  Persian  carpets,  particularly  the 
Herats,  are  really  derived  from  a  fish  form.  The  figures 
in  the  four  corners  of  the  field  substantiate  the  idea;  for 
while  they  do  resemble  leaves,  they  much  more  closely  re¬ 
semble  fish.  For  some  curious  reason,  the  second  rendering 
(to  the  left,  as  the  rug  hangs)  is  more  vague  and  broken. 

The  very  peculiar  warp  arrangement  is  to  be  found  only 
in  Tabriz  weavings.  A  rug  could  carry  no  surer  indication 
of  its  origin. 

large  double  palmettes  in  green,  red,  salmon, 
steel-blue,  connected  by  heavy  reciprocating  arabesque  in  deep  claret. 
Over  field  and  surrounding  inner  palmette,  trailing  vines  in  brown  or 
light  green,  with^  small  blossoms  in  light  green  and  steel-blue.  Outer  and 
inner  stripes  variegated  blossoms  on  green  background. 

FIELD:  On  green  ground,  spiral  vines  in  claret  red,  cloud-bands  in 
salmon  and  gold,  small  tendrils  in  brownish  red,  blossoms  in  gold,  red, 
steel-blue.  Central  panel :  On  claret  ground,  vines  and  flowers  as  in  bor¬ 
der;  leopards  in  alternate  white  and  gold,  pursuing  antelopes;  on  one  side 
fawn,  on  other  yellow. 

Principal  outlines  everywhere  dark  brown. 

HERAT  (So-called  ISPAHAN)  (Persian).  Late  XVII. 
Century.  S'7"xi3'o". 

This  regal-looking  carpet  belongs  to  one  of  the  most  fa¬ 
mous  of  all  rug  types,  the  so-called  Ispahan.  They  were 
the  first  of  the  great  antique  carpets  to  appear  in  America, 
and  nearly  every  famous  American  collection  has  at  least 
one  of  these  pieces.  They  were  naturally  supposed  in  this 
country  to  mark  the  supreme  achievement  of  Persian  rug¬ 
weaving.  Several  examples,  such  as  the  one  in  the  South 
Kensington  Museum,  and  a  couple  of  fragments  in  the 
|  Boston  Museum,  would  seem  to  substantiate  any  claim  that 
might  be  made  for  them.  But  a  wider  acquaintance  with 
early  Persian  weavings  puts  in  the  first  rank  the  sixteenth- 
century  carpets  of  North  and  Central  Persia,  such  as  may 

3See  Martin  (p.  5 6 ). 


5°3 


IOO 

PERSIAN 

be  seen  in  the  accompanying  illustrations.  Dr.  Martin’s 
arguments  for  assigning  these  pieces,  not  to  Ispahan,  but  to 
Herat,  which  was  then  near  the  far  eastern  border  of  the 
empire,  seem  quite  conclusive. 

Wherever  made,  they  surely  bespeak  the  dignity  and 
glory  of  the  Augustan  Age  of  Persian  life.  These  magnifi¬ 
cent  pieces,  woven  in  great  numbers  during  the  Safavid 
dynasty,  are  among  the  highest  expressions  of  the  general 
artistic  and  political  Renaissance  of  the  time.  Then  flour¬ 
ished  great  poets;  then  were  built  fabulous  gardens  and 
lovely  palaces.  The  gardens  are  withered*  the  palaces  in 
desolate  ruins,  the  poetry  inaccessible  to  most;  but  the 
glories  of  that  reign  are  eloquently  repeated  and  preserved 
for  us  in  these  dignified  and  sumptuous  carpets. 

In  the  seventeenth  century  the  weaving  began  to  degen¬ 
erate— the  designs  became  rigid  and  clumsy ;  the  wide- 
swinging,  delicate  curves  gave  way  to  abrupt  patterns ;  the 
marvelously  rich  borders  were  constrained  into  simple  lancet 
leaves  surrounding  palmettes.  Rut  the  fame  of  these  pieces 
had  already  spread  throughout  the  world.  From  Akbar  in 
India  to  Rubens  and  Van  Dyck  in  Europe  their  value  and 
beauty  were  acknowledged.  The  Mogul  emperors  sum¬ 
moned  weavers  from  Herat  to  Lahore4  and  bade  them  repro¬ 
duce  there  these  famous  carpets,  and  it  has  been  suggested 
that  this  particular  piece  was  woven  in  Lahore.  The  only 
possible  evidence  that  could  be  adduced  for  such  an  attribu¬ 
tion  is  the  fact  that,  saving  for  the  lancet  leaves  of  the  bor¬ 
ders,  which  are  in  this  rug  reversed,5  it  very  closely  resem¬ 
bles  a  fine  carpet  owned  by  the  Duke  of  Buccleigh,  at 
Roughton  House,  a  Herat  carpet  officially  ascribed  to 
Lahore.  Rut  no  evidence  is  offered  in  support  of  the 
attribution.  The  carpet  may  easily  have  been  woven  at 
Herat  and  imported  to  India  and  secured  by  the  East 
India  Company  there.  Lahore  is  only  a  little  farther  in 

*This  statement,  though  challenged  by  Hendley,  is  confidently  reaffirmed  by 
Martin.  ...  „ 

6This  reversal,  however,  is  not  an  Indian  characteristic ,  but  Persian.  Martin 
gives  an  illustration  (Fig.  177)  of  a  fragment  of  a  Herat  border  almost 
identical  with  this  in  both  color  and  design. 

RUGS 


miles  from  Herat  than  Herat  is  from  Ispahan.  Further¬ 
more,  the  royal  carpet  looms  were  set  up  at  the  very  early 
part  of  the  seventeenth  century,  and  at  first  held  pretty 
closely  to  the  most  elegant  and  intricate  type  of  the  Herat 
weavings,  while  in  the  later  half  of  the  century,  and  even 
earlier,  they  began  to  make  considerable  concessions  to  the 
Indian  decorative  genius.  This  carpet  has  none  of  the  subtle 
fineness  of  the  early  Lahore  weavings,  nor  has  it  any  of  the 
Indian  characteristics  of  later  weaving  there,  while  it  does 
have  the  characteristic  marks  of  late  seventeenth-century 
Herat  work,  such  as  the  enlarged  palmettes,  sparse  border, 
heavy  lancet  leaves,  and  rather  thick  cloud-bands.  While 
a  good  many  of  the  later  Lahore  carpets  were  imported  and 
sold  as  Ispahans,  this  does  not  seem  to  be  one  of  them. 


IOI 


KURDISTAN.  Probably  SOUJ-BULAK  (Persian).  Late 
XVIII.  Century.  5>  0"  x  r  10". 

Shah  Abbas  sent  a  number  of  his  most  talented  designers 
to  Italy,  where  they  were  apprenticed  to  Raphael  and  initi¬ 
ated  in  the  secrets  of  Renaissance  design.  The  concen¬ 
trated  and  patently  unified  design  of  most  Persian  pieces 
since  that  era,  characteristic  of  practically  all  the  modern 
Kashans,  Sarouks,  and  Kermanshahs,  is  held  by  many 
to  have  been  a  product  of  this  early  European  training, 
and  not  so  faithfully  to  represent  the  genius  of  purely 
Oriental  design  as  such  patterns  as  we  see  on  this  rug.  At 
first  sight  a  more  complete  and  whole  design,  with  center 
and  corners  nicely  balanced,  defined  everywhere  with  ob¬ 
vious  perfection,  is  perhaps  more  satisfying,  but  there  is  a 
power  and  splendor  of  imagination  in  such  pieces  as  this 
that  for  many  quite  surpass  all  but  the  very  greatest  of  the 
more  formal  Persian  pieces.  Dwelling  in  the  presence  of 
a  Nature,  not  always  kind,  but  always  vast  and  powerful, 
the  Asiatic  mind  has  ever  had  a  lively  sense  of  the  Infinite. 
The  Orient  in  general  has  for  the  unlimited  an  awe  which 
the  more  egotistical  and  self-confident  West  little  appreci¬ 
ates.  This  spirit  is  to  be  found  in  Oriental  art,  from  the 


5°4 


102 

PERSIAN 

architecture  of  Egypt  to  the  Kano  paintings  in  Japan.  But 
how  to  suggest  infinity  in  a  medium-sized  woolen  rug  might 
well  baffle  any  mind,  Oriental  or  Occidental.  Here  the  prob¬ 
lem  is  solved.  Something  akin  to  infinity,  the  limitless  and 
unending,  is  here  conceived  with  sureness  and  rendered  with 
dexterity.  This  glorious  design  does  not  accommodate  itself 
to  our  copy-book  schemes.  At  first  it  defies  analysis.  It  seems 
bewildering  and  uncontrolled  in  its  power  and  richness.  It 
apparently  has  neither  beginning,  middle,  nor  end,  and  to 
undertake  its  exploration  is  to  inaugurate  an  adventure  that 
challenges  completion.  Yet  there  is  neither  guess  nor  con¬ 
fusion  here.  For  all  the  variety,  for  all  the  defiance  of  con¬ 
ventional  modes  of  symmetry,  none  the  less  there  is  here 
organic  wholeness,  and  little  by  little  the  scheme  unravels 
itself  to  patient,  sympathetic  attention.  Elusive,  it  is  all  the 
more  satisfying. 

Splendid  as  is  the  design,  the  color  of  this  rug  is  its  chief 
claim  to  glory.  Such  deep  reds,  blues,  and  green  have  never 
been  surpassed.  To  stand  close  up  under  this  rug  when  the 
light  is  good  is  to  discover  a  satisfaction  and  exhilaration  in 
sheer  color  that  few  could  have  imagined  possible.  Nor  is  it 
fair  to  consider  design  and  color  apart.  Indeed  here,  if  any¬ 
where,  they  “blend  confederate  to  one  golden  end — beauty.” 

The  large  S-forms  are  symbolic  of  the  Deity,  and  the 
ubiquitous  comb  device,  which  we  find  even  in  the  spandrels 
of  prayer-rugs,  remind  the  devout  of  the  Prophet’s  emphatic 
injunctions  for  cleanliness.  It  is  not  at  all  impossible  that 
the  juxtaposition  of  these  two  symbols  here  means  to  affirm 
that  “Cleanliness  is  next  to  godliness.” 

The  precise  identification  of  this  rug  is  a  difficult  matter. 
The  main  design,  and  the  narrow  border  stripes  as  well,  is 
derived  directly  and  faithfully  from  the  Kuba  carpets  of 
the  eighteenth  century  at  the  time  when  they  were  aspiring 
for  Persian  effects.6  But  the  weaving,  which  is  wholly  un¬ 
like  Kuba  pieces,  the  soft,  lustrous  wool,  the  rich  shading, 

6See  rug  No.  346;  also,  supplementary  plate  No.  xxm.,  illustrations  37  and 

38  in  Neugebauer,  and  Plate  xxv.,  in  Victoria  and  Albert  Museum,  Guide 
to  the  Collection  of  Carpets. 

RUGS 


and  the  web-insertion  of  colored  yarn  are  proof  of  Kurdish 
origin.  The  textile  details,  while  not  agreeing  entirely  with 
the  type  characteristics  of  present-day  examples,  point  pretty 
surely  to  Souj-Bulak  or  its  immediate  vicinity  as  the  place 
of  weaving.  This  was  the  ancient  capital  of  Kurdistan,  and 
its  more  fortunate  days  are  abundantly  set  forth  in  this 
sumptuous  and  imaginative  rug.  Yet  the  free  and  easy 
scattering  of  some  detached  figures  throughout  the  field, 
the  slight  displacement  of  the  whole  centre  pattern  to  the 
left,  leaving  a  narrow  margin  to  be  filled  up  with  decorative 
trifles,  and  the  composite  derivation  of  the  design  are  all 
evidences  of  a  nomadic  authorship,  which  makes  precise 
attribution  perhaps  out  of  the  question.  But  it  seems  almost 
ungracious  to  fuss  over  labels  in  the  presence  of  such  mag¬ 
nificent  beauty.  It  is  surely  one  of  the  finest  rugs  in  the  en¬ 
tire  collection.  For  the  benefit  of  those  who  may  care  to  press 
the  problem  of  attribution,  the  technical  details  are  here 
added. 

EORDER:  Main  stripe,  ground  red,  large  S-figures  in  red,  white,  green, 
yellow,  lavender.  Combs:  white,  blue,  lavender,  green.  Outer  stripe,  recip¬ 
rocal  in  lavender  and  red,  with  green  outlines.  Inner  stripe,  green,  with 
angular  vine  in  various  colors. 

lavender  De6P  blU6’  With  figures  in  red’  gold>  light  blue>  dark  green, 
PI^E:  Medium  thick,  rather  soft,  very  lustrous  wool. 

WARP:  Plain  medium  wool.  Weft,  finer  wool,  dyed  reddish,  crossing 
twice  between  each  row  of  knots.  Knot:  Ghiordes,  firmly  compressed, 
warp  concealed,  weaving  at  back  fine  and  regular,  knots  in  same  plane, 
and  equally  prominent;  vertical  15,  horizontal  12 y2  to  inch. 

SIDES.  Double  selvage  on  five  cords,  added  selvage  of  very  fine  purple- 
brown  goat  s  hair. 

ENDS:  Short  web  with  warp  fringe.  Lower  end  with  loose  straight  in¬ 
sertion  of  three-strand  yellow  and  lavender  yarn. 

NORTHEAST  KURDISTAN  (Persian).  Latter  half 
XIX.  Century,  s'  10"  x  12'  6". 

The  artistic  merit  of  this  sturdy  carpet  lies  in  the  frosty 
rose  color,  the  delicate  transparency  of  the  floral  figures, 
and  the  rich  shading  of  the  whole  composition.  Although 
the  one  main  design,  the  Guli  Hennae,  is  repeated  innumer¬ 
able  times,  there  is  no  hint  of  monotony,  and  although  the 
rug  is  light  in  tone  and  drawing,  it  is  quite  saved  from 


104 

PERSIAN 

5°6 

weakness  by  the  force  of  the  contrasting  colors  in  the  cor¬ 
ners  and  centre  panel. 

The  scheme  of  a  repeating  floral  design  on  a  rose  field  is 
primarily  Saraband ;  the  Guli  Hennae  pattern  and  the  pale 
green  of  the  border  are  characteristic  of  Feraghan  weaving ; 
the  high  color  key  is  Bijar;  but  the  combination  is  wholly 
Kurdish  and  wholly  admirable. 

MOSUL-KURD  (Persian).  Middle  XIX.  Century. 

3' 11"  x  8' 11". 

This  rug  was  made  about  fifty  years  ago  by  some  of  the 
wild  Kurdish  tribes  to  the  north  of  Mosul.  The  rug  was 
woven  by  barbarians,  and  it  looks  the  part.  There  is  noth¬ 
ing  of  Persian  subtlety  or  elegance  here;  none  of  the  in¬ 
tellectual  severity  nor  the  sustained  and  consistent  effort 
which  marks  even  the  plainest  of  the  Caucasus  rugs ; 
nothing  of  the  delicate  color  sense  and  fine  feeling  for  the 
whole  effect  that  marks  the  work  of  their  own  kinsmen  far¬ 
ther  south.  These  lusty  savages  have  neither  the  time  nor 
the  patience  to  evoke  delicate  and  precise  tones  from  the 
reluctant  dye-pot,  nor  any  disposition  to  labor  long  in  co¬ 
ordinating  such  colors  as  they  have.  All  such  work  would 
seem  to  them  tiresome  and  fussy.  How  much  better  and 
more  natural  to  weave  as  one  fights,  with  energy  and  aban¬ 
don,  without  thinking  too  precisely  on  the  event.  If  one  gets 
tired  of  one  border  color,  or  if  the  dye  runs  out,  change  the 
whole  scheme  abruptly  and  say  nothing  about  it — so  their 
rule  would  seem  to  read.  If  the  rug  threatens  to  appear  too 
tame,  throw  in  a  few  streaks  of  bright  blue,  draw  all  lines 
straight  and  stiff,  scatter  about  bright  white  spots,  multi¬ 
ply  angles,  throw  in  at  random  some  strong  color  contrasts, 
weave  the  whole  thick  and  strong,  and  you  will  get  a  rug 
that  expresses  ferocious  and  wanton  energy  as  nothing  else 
can.  Even  the  Dyak  war-shields,  painted  for  the  express 
purpose  of  carrying  terror  to  the  hearts  of  the  enemy,  do 
not  surpass  the  expressiveness  of  this  vociferous  weaving. 
Even  if  after  a  while  such  a  piece  seems  noisy  and  tire¬ 
some,  and  we  long  for  the  sedate  and  measured  rugs  of 

RUGS 


sophisticated  people,  there  is  nevertheless  something  quite 
wholesome  in  a  piece  of  this  sort.  At  a  time  when  pretense 
is  a  habit  and  indirection  a  virtue,  such  straightforward, 
four-square  design,  such  frank  coloration  and  unblushing 
self-revelation,  are  refreshing. 

While  the  general  color  effect  is  hardly  gracious,  yet 
some  of  the  individual  colors,  particularly  the  garnets  and 
the  dark  blues,  are  magnificent  and  quite  up  to  the  ancient 
standards. 

The  break  in  the  border  at  the  lower  right-hand  corner 
is  to  avert  the  evil  eye,  a  danger  to  which  all  the  weavers 
of  this  region  are  constantly  exposed. 


WESTERN  KLRDISTAN  (Persian).  Latter  half  XIX. 
Century.  2"  x  8'  2". 

This  rug,  like  the  Yuruk,  shows  again  how  important  and 
how  successful  mere  color  apart  from  pattern  can  be  in  the 
hands  of  a  good  designer.  A  weaker  or  more  monotonous 
pattern  than  thirty  parallel  stripes  of  the  same  width  could 
hardly  be  imagined,  and  yet  the  richness  and  purity  of  the 
colors  and  their  careful  balance  endow  the  rug  with  a  good 
deal  of  charm. 


5°  7 


WESTERN  KURDISTAN  (Persian).  XIX.  Century. 

|  5/  g"  x  y  2". 

Although  this  piece  was  woven  farther  to  the  West  than  its 
relative  (No.  507),  it  is  animated  by  the  same  spirit,  and 
may  to  st>me  appear  even  wilder ;  for  it  was  woven  by  the 
very  people  that  have  rather  cheerfully  performed  the  worst 
part  of  the  business  of  massacring  Armenians. 

Aside  from  the  splendid  quality  of  some  of  the  indi¬ 
vidual  colors,  there  are  some  novel  and  delightful  combina¬ 
tions.  Was  it  left  for  this  untamed  Kurd  to  prove  that 
combinations  of  brilliantly  colored  cubes  could  be  both  sane 
and  beautiful  ?  The  decorated  selvage  is  in  this  case  of  very 
unusual  length,  partly  for  the  purpose  of  enabling  a  strap 
to  be  passed  through  the  slits  so  that  it  might  be  hung. 
Such  a  rug  was  woven  for  utility  as  well  as  beauty,  and  its 


io6 


5°9 


5IQ 


PERSIAN 


shaggy  depth  and  ample  size  must  have  made  it  a  luxurious 
bed  for  some  rough  chief  in  the  mountains  of  Eastern 
Anatolia. 

These  are  the  crookedest  rugs  woven  anywhere  in  the 
world.  As  their  weavers  have  to  travel  about  a  good  deal, 
they  rarely  stay  long  enough  in  one  place  to  finish  a  rug, 
and  the  repeated  taking  down  and  setting  up  of  the  loom 
make  precise  regularity  in  weaving  quite  out  of  the  ques¬ 
tion.  But  as  the  Kurds  display  these  rugs  in  tents  or  huts 
or  on  the  rough,  open  ground,  their  crookedness  is  not 
noticeable,  and  the  most  fantastic  shape  in  no  wise  inter¬ 
feres  with  the  richness  of  the  color  or  the  depth  and  warmth 
of  the  pile,  and  these,  for  the  Kurd,  are  the  only  things  that 
count. 

BIJAR  (Persian).  Latter  half  XIX.  Century.  4'  3"x9'i". 
This  rug  could  be  cited  as  a  convincing  rebuttal  of  the 
suspicion,  sometimes  voiced,  that  Persian  rugs  are  neces¬ 
sarily  rather  effeminate  in  character.  This  solid  rug  has  the 
consistency,  weight,  and  durability  of  an  oak  plank,  and  the 
design  is  notably  brilliant  and  forceful.  The  weavers  were 
particularly  famous  for  their  prowess  in  war,  and  at  one 
time  were  stationed  on  the  eastern  border  of  Persia  to  hold 
off  the  ferocious  Afghans.  But  while  the  rug  displays  a 
great  deal  of  determination,  it  is  much  more  than  a  record  of 
local  temperament.  Bijar  is  situated  well  in  the  heart  of  rug- 
producing  Persia,  and  the  geniuses  of  the  neighboring  dis¬ 
tricts  have  all  contributed  to  the  total  effect.  1  he  central 
panel  is  a  favorite  device  of  the  Sehna  weavers,1  the  large 
undecorated  area  a  Hamadan  preference,  while  the  floral 
corners  and  centre  are  derived  from  Feraghan.  But  the  total 
effect  of  force  and  brilliance  must  be  credited  to  the  Bijar 
weavers  themselves. 

BIJAR  (Persian) .  Latter  half  XIX.  Century.  3'ii"x5'4". 
In  this  eccentric-looking  rug  we  find  a  jumble  of  all  the 
designs  commonly  worked  by  the  Bijar  weavers.  %  arious 

1Cf.  all  four  Sehna  rugs. 


RUGS 


explanations  of  such  a  strange  procedure  have  been  offered, 
but  the  most  plausible  is  that  it  was  woven  as  some  sort  of 
a  sampler.  Yet  the  work  is  too  expert  to  permit  our  think¬ 
ing  of  it  as  practice-work,  like  the  early  New  England 
samplers.  Such  a  piece  might  be  offered  in  proof  of  the 
weaver’s  skill  where  commissions  were  being  sought,  and  it 
might  also  be  a  sort  of  copy-book  pattern  for  weavers  to 
follow  when  working  on  large  carpets,  or,  as  Mr.  Mumford 
suggests  in  the  case  of  a  similar  rug,  it  may  have  been  de¬ 
signed  as  a  preposterous  “Hoodoo”  grave-rug,  well  calcu¬ 
lated  to  confound  and  divert  the  most  penetrating  “evil 
eye  which  might  threaten  to  disturb  the  repose  of  some 
friend’s  departed  soul. 

Whatever  the  original  intent  of  the  weaver,  there  can 
be  no  doubt  of  his  competence.  Some  of  these  figures  are 
very  hard  to  render,  but  they  are  managed  with  surety  and 
brilliance.  The  excellence  of  the  colors,  particularly  the 
brown,  red,  and  yellow,  which  are  both  soft  and  clear, 
redeems  the  rug  from  confusion  and  binds  its  scattered 
elements  into  a  tolerable  unity. 

How  dignified  and  stately  a  Bijar  weaver  can  be  on  occa¬ 
sion  is  well  shown  in  the  other  carpet  from  the  same  region, 
No.  509. 

MIAN  A  (Persian).  Middle  XIX.  Century.  3'4"  xs'io" 
Miana  rugs  are  so  rare  that  they  are  not  mentioned  in  print 
anywhere  and  no  dealers  seem  to  know  anything  about 
them.  They  constitute  a  well-defined  though  very  small 
group,  and,  if  this  rug  is  a  sample,  deserve  fame.  They  quite 
closely  resemble  Bijars  in  general  appearance,  but  are  not 
I  quite  so  thick  and  stiff,  and  the  rose  color  is  more  silvery 
than  Bijar  dyers  ever  attain.  The  brown  webbings  of  the 
ends  are  perhaps  the  most  distinctive  feature. 

Although  quite  simply  rendered,  the  rug  carries  a  good 
j  ^.ea\  true  Persian  feeling,  and  the  great  carpets  of  an¬ 
tiquity  have  contributed  something  to  this  very  modest 
weaving.  The  Tree-of-Life  pattern  is  rendered  in  a  free  and 
1  sketchy  way  that  proclaims  the  artist  somewhere,  while  the 


512 


5J3 


5*4 


vigorous  reciprocal  border  is  directly  reminiscent  of  the 
Polish  carpets. 

SEHNA  (Persian).  Middle  XIX.  Century.  2'  0"  x  3'  4". 

The  Sehna  weavers  have  long  been  famous  for  producing 
the  finest  weavings  in  modern  times,  and  this  piece  is  a 
good  sample  of  their  work  and  corroborates  their  reputa¬ 
tion.  Yet  this  fineness  is  not  purchased  at  the  expense  of 
dignity  or  strength.  The  central  medallion  has  a  good  deal 
of  force,  and  the  background  of  midnight  blue  is  solid  and 
deep.  By  way  of  a  third  and  more  gentle  contrast,  the  bor¬ 
ders  are  rendered  chiefly  in  new  tones  of  blue  and  yellow. 
Although  the  floral  patterns  here  are  intricate  and  profuse, 
they  are,  thanks  to  a  deliberate  and  suggestive  angularity 
and  careful  accentuation,  in  no  way  confused. 

There  are  two  hundred  and  twenty  knots  to  the  square 
inch.  In  old  pieces  it  is  quite  common  to  find  over  four  hun¬ 
dred  knots  to  the  inch,  and  a  small  piece  was  offered  some 
years  ago  in  New  York  that  had  approximately  one  thou¬ 
sand  and  fifty  knots  to  the  inch.  In  such  cases  the  weaving 
must  be  done  with  the  aid  of  a  needle. 

Sehna  rugs  are  essentially  aristocratic.  Their  weavers 
have  never  been  beguiled  by  the  coarser,  easier  patterns  of 
their  neighbors,  and  until  very  recently  have  held  loyally 
to  their  ancient  and  difficult  standards ;  delicate  patterns, 
refined  colors,  perfect  blending,  and  exquisite  technique. 
SEHNA  KHILIM  (Persian).  Middle  XIX.  Century. 

6'  0"  x  13'  9".  . 

Most  of  the  fine  Khilims  are  of  small  size,  and  it  is  rare  in¬ 
deed  to  find  a  piece  of  such  imposing  proportions  and  of  so 
aristocratic  a  bearing. 

The  apparently  faded  streak  near  the  middle  of  the  rug 
is  an  unsuccessful  attempt  to  introduce  a  shadow-band.  How 
it  looks  when  done  by  a  master  hand  may  be  seen  from  the 
neighboring  Souj-Bulak. 

SEHNA  KHILIM  (Persian).  Latter  half  XIX.  Century. 

V  3"  x  5'  6". 

Although  the  excessive  refinement  of  this  rug  may  seem  to 


Hamadan 


RUGS 


iog 


verge  on  weakness,  it  nevertheless  touches  a  charming  and 
valuable  note  and  proves  in  a  new  way  what  wide  range  of 
effects  are  possible  in  rug-weaving.  From  the  cold  austerity 
of  some  of  the  Caucasus  rugs,  the  exultant  power  of  the 
Sarmakand,  or  the  ponderous  force  of  theUshak  to  the  fem¬ 
inine  daintiness  of  this  piece  is  a  long  and  interesting  way 
that  passes  through  almost  the  entire  range  of  legitimate  ar¬ 
tistic  emotions.  By  itself  such  a  rug  might  prove  tiresome ; 
taken  with  the  others,  it  is  delightful,  refreshing,  and  artis¬ 
tically  important. 


SEHNA  KHILIM  (Persian).  Middle  XIX.  Century.  5X5 

4'  4"  x  6'  2". 

Of  all  the  rugs  of  Persia,  the  most  crisp  and  elegant  are 
those  woven  in  the  region  of  Sehna  in  the  Ardelan  province. 
Sometimes  their  fabulous  fineness  of  weaving  and  very 
short  pile  make  the  delicate  figures  seem  almost  as  if  drawn 
on  parchment.  These  qualities  of  delicacy  and  elegance  are 
well  carried  out  in  this  piece,  woven  in  the  tapestry  or 
khilim  stitch.  Except  for  those  woven  in  Sehna,  Khilims 
are  pretty  generally  of  strong  design  and  heavy  colors,  yet, 
rich  as  many  of  them  are,  they  are,  of  course,  at  a  hopeless 
disadvantage  if  they  try  to  compete  with  the  deep  and  glow¬ 
ing  colors  of  a  pile  rug.  In  this  piece  the  artist  recognized 
the  nature  and  limitations  of  his  material.  He  treated  it  as  a 
thin,  flat  surface  should  be  treated,  with  light  colors  and 
delicate  handling,  making  no  effort  to  have  the  rug  appear 
sumptuous  or  imposing,  aiming  chiefly  at  charm  and  ele¬ 
gance.  Yet  there  has  been  no  loss  of  strength  and  nobility. 

Note  that  the  stitch  has  been  so  arranged  that  it  imparts  to 
the  open  background  a  faint  diaper  pattern,  thus  greatly 
relieving  the  hardness  of  so  much  plain  space,  which,  thus 
softened,  offers  a  refreshing  contrast  to  the  surrounding 
floreation. 

HAMADAN  (Persian).  Middle  XIX.  Century.  ^l6 

Hamadan  rugs,  although  among  the  simplest  of  all  rugs 
of  Western  Asia,  are  among  the  most  satisfying.  With  but 


no 

PERSIAN 

51? 

few  colors  and  quiet  patterns,  they  achieve  rich  and  dig¬ 
nified  effects.  It  has  been  suggested  that  in  this  plain  brown 
and  white,  with  just  a  touch  of  brighter  color,  we  have  a 
record  of  environment.  There  is  much  sandy  waste  in  this 
country ;  flowers  are  only  occasional,  hence  the  more  highly 
prized.  And  so  we  find,  not  the  rich  welter  of  colors  that 
comes  from  the  great  Persian  cities,  where  luxurious  gardens 
flourish,  but  the  sober  colors  of  the  desert,  with  its  tawny 
waste,  the  blue  sky,  and  an  occasional  touch  of  rose  and 
green.  Out  of  these  meagre  elements  the  weavers  of  this 
ancient  city  of  Esther  and  Mordecai  have  attained  some 
broad  and  noble  effects.  There  is  something  of  the  spacious¬ 
ness  and  dignity  of  the  desert  in  these  strong  and  quiet 
pieces. 

It  is  vigorous,  yet  sober,  delightfully  interesting,  yet  calm 
and  well  composed.  It  seems  to  attain  without  effort  that 
felicitous  combination  of  stimulation  and  repose  that  marks 
the  essence  of  the  aesthetic  emotion. 

FERAGHAN  (Persian).  Dated  July,  1763.  s'ii"xirs". 
This  piece  well  illustrates  the  difficulty  of  identifying  rugs 
solely  by  pattern,  for  although  the  dyes,  wool,  and  con¬ 
struction  show  beyond  dispute  that  it  was  woven  in  the 
Feraghan  district,  the  design  is  wholly  unprecedented,  nor 
has  it  any  trace  of  the  rich  and  intricate  work  for  which 
Feraghans  are  renowned.8  The  lion  with  a  sword,  while 
not  officially  adopted  until  the  end  of  the  eighteenth  cen¬ 
tury,  was  nevertheless  for  centuries  the  Persian  national 
emblem.  The  tile  pattern  which  covers  the  whole  field  is  the 
characteristic  Afghan  pattern  which  is  to  be  found  in  the 
common  Afghan  and  Khiva-Bokharas  of  today. 

Only  some  very  exceptional  occasion  could  explain  this 
sharp  divergence  from  established  tradition.  Exactly  the 
occasion  and  intent  can  probably  never  be  proved,  but  the 
current  history  suggests  a  more  than  plausible  hypothesis. 
After  the  death  of  Nadir  Shah,  in  1747,  evil  days  fell  upon 

s Two  fine  and  typical  pieces  are  shown  in  supplementary  plates  (Nos.  xi. 
and  xii,). 

RUGS 

III 

;  Persia.  A  bloody  scramble  for  power  ensued  which  kept  the 
country  in  misery  for  twenty  years.  By  1759  Karim  Kahn,  a 
Zend  Kurd,  had  vanquished  all  rivals,  and  by  1760  re¬ 
ceived  the  formal  submission  of  all  provinces  and  cities  that 
had  contested  his  claims.  But  he  succeeded  only  after  a  long 
and  exciting  three-cornered  fight  with  Azad,  an  Afghan, 
and  Muhammad  Hasan  Kahn,  a  Kajar.  As  Karim  Kahn 
was  a  just  and  upright  man,  with  many  admirable  qualities, 
and  as  the  Afghans  were  particularly  feared  and  hated 
throughout  Persia,  there  must  have  been  general  rejoicing 
at  Karim’s  success  over  Azad.  Surely  the  defeat  of  the 
dreaded  Turkomans  and  the  re-establishment  of  orderly 
government  throughout  Persia  was  a  glorious  and  happy 
event  worthy  of  celebration  and  permanent  record.  What 
finer  memorial  could  a  grateful  subject  conceive  than  to 
weave  a  carpet  that  should  show  the  victorious  Persian  lion 
dominating  the  well-known  Afghan  tile  pattern  ?  Surely  no 
offering  could  be  better  devised  for  securing  royal  favor,  the 
secret  ambition  of  every  weaver  of  the  East.  Moreover,  July, 
1763,  is  near  enough  to  the  final  triumph  of  Karim,  which 
took  place  in  1760;  for  two  or  three  years  was  none  too 
much  for  the  planning  and  execution  of  such  a  carpet  with 
all  its  new  and  difficult  problems. 

As  is  frequently  the  case,  the  inscription  is  partly  unde¬ 
cipherable,  the  first  word  having  defied  the  best  efforts  of 
Professor  William  Popper.  The  word  Tabriz  may  be  indi¬ 
cated,  but  the  script  is  too  conventionalized  to  warrant  any 
considerable  confidence  in  this  or  any  of  the  other  half- 
dozen  possible  readings.  The  second  word,  Muharram  al 
Haram,  is  the  name  of  the  sacred  month,  corresponding  to 
our  month  of  July. 

MIR  SARABAND  (Persian).  Early  half  XIX.  Century. 

T  9"  x  12'  5".  J 

There  is  no  locality  called  Saraband  in  Persia  or  anywhere 
else.  These  pieces  come  from  the  district  of  Sarawan,  a 
name  that  was  early  corrupted  into  Saraband.  Perhaps,  as 
Mr.  Mumford  suggests,  the  corruption  had  a  motive  in  the 

^r\ 

HH 

OO 

1X2 


PERSIAN 


recognition  that  the  spirit  of  the  Saraband  dance  has  a  great 
deal  in  common  with  the  rather  formal  and  stately  elegance 
of  such  pieces  as  this. 

The  two  white  border  stripes  indicate  that  the  piece  is 
of  early  type.  The  main  border,  of  exceptional  richness  for 
a  Saraband,  is  the  so-called  turtle  design,  found  in  various 
parts  of  Persia,  and  particularly  well  rendered  by  the  Fera- 
ghan  weavers,9  but  here  it  is  quite  transformed,  and  ren¬ 
dered  with  a  delicacy  and  restraint  that  perfectly  adapts  it 
to  the  quiet  design  of  the  field.  An  unmodified  Feraghan 
border  would  have  been  shocking.  The  mellowness  of  the 
red  in  the  main  border  is  secured  not  only  by  the  quality  of 
the  original  dye,  but  by  skilful  blending  with  some  brown¬ 
ish  or  buffy  red  that  follows  the  outlines  of  most  of  the 
figures.  The  quiet  richness  of  the  centre  field  is  secured 
through  subtle  variations  in  the  design  and  coloring  of  the 
pear  figures  themselves,  by  their  delicate  serration,  and  the 
stippling  carried  out  into  the  dark  field.  In  some  rows  red 
predominates,  in  others  yellow,  in  others  white  or  blue, 
while  each  alternate  row  is  drawn  differently.  Not  only  do 
the  stems  turn  in  opposite  directions,  but  the  interior  design 
varies  also,  and  the  base  line  of  each  row  wavers  slightly. 
These  subtle  modifications  enrich  the  whole  field  by  their 
rhythmical  variations,  affording  a  charm  which  is  none  the 
less  real  because  its  source  may  be  undiscovered.  What  a  fine 
achievement  this  field  is  may  be  better  realized  if  we  imagine 
what  a  Western  carpet,  with  a  thousand  or  more  repeating 
patterns  in  the  field,  would  look  like.  We  turn  with  relief 
from  the  thought  to  the  delight  of  this  masterly  weaving. 

If  this  carpet  lacks  perfection,  it  is  in  the  matter  of  shape 
and  a  little  crowding  of  the  figures.  According  to  the  Sara¬ 
band  tradition,  these  rugs  should  be  rather  longer,  more  the 
shape  of  the  one  shown  in  supplementary  plate  No.  xm. 
Perhaps  the  weaver  grew  a  bit  weary  of  his  exacting  task; 
perhaps  it  was  an  order,  and  the  prospective  owner’s  funds 
may  have  been  unequal  to  the  completion,  or  he  may  have 


sSee  supplementary  plates  Nos.  xx.  and  xix. 


RUGS 


been  impatient  to  possess  his  treasure.  In  any  case,  we  have 
to  sympathize,  and  we  ought  to  be  grateful  to  both  weaver 
and  patron  for  what  they  have  provided.  In  the  face  of  such 
a  rich  and  painstaking  performance,  it  would  be  perhaps 
ungracious  to  call  for  an  imagined  perfection. 

MIR  SARABAND  (Persian).  Early  XIX.  Century. 

3'  10"  x  6'  3". 

The  true  Oriental  artist,  whether  working  at  painting,  por¬ 
celain,  sword-making,  lacquer,  or  weaving,  places  great 
stress  on  mere  quality.  He  takes  the  utmost  satisfaction  in 
rendering  a  simple  and  unpretentious  design  with  such  a 
passion  for  perfection  that  it  is  lifted  out  of  its  ordinary 
station  and  becomes  something  almost  sacred.  So  here  sheer 
quality  of  material  and  workmanship  raise  a  pattern  which 
might  appear  weak  and  monotonous  to  a  sure  and  high 
rank.  Even  the  most  blase  connoisseur  cannot  but  be  moved 
by  the  depth,  brilliance,  and  lustre  of  the  blue  in  this  rug, 
and  the  delicacy  of  the  drawing. 

Acquainted  only  with  the  common  run  of  modern  Sara¬ 
bands  and  the  tasteless  commercial  copies  of  them  woven 
by  the  Mosul-Kurds,  many  have  wondered  at  the  high  re¬ 
pute  these  rugs  have  so  long  enjoyed.  But  the  quality  of 
this  little  rug  declares  to  all  who  have  eyes  to  see  that  the 
half  has  never  yet  been  told. 

KARAJE  (Persian).  Late  XVIII.  or  Early  XIX.  Century. 

3'  0"  x  9'  6". 

I  Karaje  rugs  are  rather  scarce  and  pieces  as  old  as  this  very 

Irare,  for  the  output  was  never  very  large  and  the  weavings 
were  pretty  much  for  home  consumption.  The  more  modern 
pieces  are  not  particularly  interesting,  but  a  century  ago 
magnificent  rugs,  and  even  carpets,  were  woven  here  that 
.  1  could  hold  their  own  with  the  more  famous  products  of 
Joshaghan  and  Kermanshah.  There  is  a  flash  of  genius  in 
this  particular  rug  that  would  give  credence  to  such  high 
!  ;  claims,  for  here  is  real  individuality,  and  that,  too,  in  a  re¬ 
gion  that  has  found  the  copying  of  other  designs  more  con- 


PERSIAN 


521 

522 

523 


524 

525 


genial  than  perpetuating  its  own  or  inventing  new  ones. 
There  is  a  certain  lightness  of  touch  here,  despite  the  once 
thick  pile,  that  marks  some  of  the  old  Karajes.  The  bright 
and  delicate  spots  on  an  ample  dark  ground,  suggestive  of  a 
starry  sky,  the  fine  shading  into  green  blue  near  the  top  of 
the  rug,  and  the  forceful  contrast  between  border  and  field 
are  characteristic  excellences  not  to  be  found  in  Karaje  rugs 
of  recent  times. 

NIRIS  (Persian ).  Latter  half  XIX.  Century.  6'  0"  x  ir  3". 

NIRIS  (Persian ).  Latter  half  XIX.  Century.  4'  5"  x  6'  4". 

NIRIS  (Persian).  Latter  half  XIX.  Century,  r  g"  x  6'  6". 
The  most  distinctive  thing  about  Niris  rugs  is  the  very  soft 
and  lustrous  wool  that  is  employed  in  the  best  of  them. 
Nothing  quite  equals  the  glossy  blue-black  that  comes  from 
this  region.  Once  carefully  examined,  it  serves  as  a  very  re¬ 
liable  identification-mark.  No.  522  is  a  capital  example  of 
this  famous  wool.  The  immense  pear  patterns  in  No.  521 
are  characteristic  of  the  region,  and  had  the  piece  been  worked 
in  as  fine  wool  and  dyes  as  No.  522,  it  would  have  been  a 
sumptuous  and  imposing  carpet.  Even  so,  the  color  scheme  is 
admirable,  the  drawing  first-rate,  and  the  scale  impressive. 
No.  523  is  a  Nomadic  Niris,  as  is  shown  by  the  small  scat¬ 
tered  figures  in  the  field.  The  huge  patterns  of  the  main  field 
are  conventionalized  tarantulas,  a  rather  uncommon  device 
for  this  region,  and  rare  enough  anywhere  on  such  a  scale. 
The  small  Chinese-looking  medallions  are  really  Mogul  in 
origin,  for  the  Mogul  invasions  deposited  a  number  of  per¬ 
manent  communities  in  this  region,  and  these  little  medal¬ 
lions  are  the  sign  manual  of  their  race. 

SHIRAZ  (Persian).  Middle  XIX.  Century.  3'  6"  x  4'  1". 

KERMAN  (Persian).  Latter  half  XIX.  Century. 

4'  0"  x  r  3". 

This  rug  is  an  interesting  example  of  a  famous  but  now 


RUGS 


115 


rare  class  of  rugs.10  From  Marco  Polo’s  time  to  the  present 
they  have  called  forth  enthusiastic  admiration.  Indeed,  in 
the  sixteenth  and  seventeenth  centuries  they  attained  a  de¬ 
gree  of  splendor  that  was  scarcely  surpassed  by  the  finest 
Herats.  Thanks  to  the  natural  inaccessibility  of  the  region, 
weavings  of  superb  quality  have  been  maintained  until  re¬ 
cent  times. 

The  principal  motives  in  Kerman  rugs  have  been  birds, 
flowers  (particularly  roses),  and  variegated  leaf  forms,  laid 
in  with  utmost  profusion,  drawn  richly  and  solidly,  some¬ 
times  with  impressionistic  technique,  but  always  with  lively 
naturalism.  Indeed,  the  Kerman  weavers  are  by  instinct 
painters,  and  they  alone  of  all  the  Persian  weavers  use  shad¬ 
ow  and  perspective.  Yet,  for  all  the  realism,  design  and  dec¬ 
orative  quality  are  never  slighted,  and  in  unnoticed  ways 
impart  beauty  and  distinction. 

This  piece  is  quite  characteristic,  and  while  it  is  not  from 
the  era  of  the  greatest  weaving,  it  yet  partakes  of  a  noble 
inheritance.  The  soft-gleaming  wool,  the  rows  of  red  roses 
in  vases,  the  richly  colored  birds  hidden  in  foliage,  and  the 
bright  little  starlike  flowers  that  give  a  decorative  illumina¬ 
tion  to  an  otherwise  too  rich  design,  all  mark  the  typical 
Kerman. 

Kerman  rugs  frequently  present  such  a  striking  resem¬ 
blance  to  some  English  chintzes  and  Colonial  wall-paper 
that  the  surmise  of  some  interchange  of  influence  is  unavoid¬ 
able.  It  is  quite  within  the  bounds  of  possibility  that  Kerman 
rugs  did  influence  English  designers,  for  there  are  apparent¬ 
ly  more  Kermans  in  England  than  in  any  other  country,  and 
they  were  imported  at  a  time  when  English  designers  were 
especially  sensitive  to  Oriental  influences.  Although  Kerman 
is  pretty  well  isolated,  its  products  have  for  centuries  been 
exported  by  way  of  Bander  Abbas  on  the  Persian  Gulf,  and 
for  several  centuries  the  English  have  had  a  special  stake 

Z!-!leSe,  TU,gS  ,mUSt,  not  ie  confused  with  the  modern  so-called  Kermanshah, 

1  wjllc h  they  have  little  m  common  besides  the  name.  The  latter  rug  is 
generally  a  weak,  flashy,  commonplace  affair,  based  largely  on  European 
designs,  and  woven  only  to  sell. 


ii6 

ASIA  MINOR 

\  S2^ 

there.  Moreover,  Kerman  is  really  nearer  to  India  than  it  is 
to  the  trade  centres  of  Northwestern  Persia,  and  Kerman 
rugs  could  easily  have  found  their  way  to  England  by  the 
way  of  the  East  India  Company.  Once  there,  their  great 
beauty  was  sure  to  charm  and  the  appropriateness  of  their 
designs  for  hanging  textiles  sure  to  be  noted. 

B. 

ASIA  MINOR  RUGS 

GHIORDES  PRAYER-RUG  (So-called  BEKTASH) 
(Asia  Minor).  XVIII.  Century.  3'  9"  x  s'  2". 

This  strange  and  solemn  rug  contributes  perhaps  more  than 
any  single  piece  to  the  unmistakable  religious  feeling  that 
pervades  this  whole  congregation  of  prayer-rugs.  Quite  un¬ 
like  the  Baku  (No. 550)  in  color  and  pattern,  it  nevertheless 
creates  much  of  the  same  mood  of  mystery  and  melancholy. 
These  weavers  knew  well  the  principle  that  painters  have 
used  so  effectively  from  the  Sung  dynasty  to  the  present  day, 
that  masses  of  sombre  color  unrelieved  by  detailed  drawing 
create  a  feeling  of  quiet  gravity ;  witness  Whistler’s  portrait 
of  his  mother,  or  of  Carlyle,  or  the  Rousseau  or  the  Millet 
in  the  present  collection.  So  here  the  serious  almost  unre¬ 
lieved  color,  the  gloomy  mass  of  the  tree,  directly  create  a 
solemn  impression,  further  intensified  by  the  blankness  of 
the  wide  empty  borders  that  give  the  mosque  columns  some¬ 
thing  of  the  appearance  of  a  lonely  ruin. 

These  rugs  are  commonly  ascribed  to  the  Bektashites,  a 
once  famous  and  important  sect  of  Dervishes  to  which  most 
of  the  Janissaries  belonged,  and  the  presence  of  the  star  and 
crescent  on  the  peaks  of  the  columns  lends  some  slight  sup¬ 
port  to  this  theory.  Surely  some  special  circumstance  or 
strong  intent  determined  the  variation  from  accepted  rug 
traditions,  for  while  the  textile  evidence  proves  that  it  was 
woven  in  Ghiordes,  apart  from  construction,  it  resembles  its 

RUGS 


fellow  Ghiordes  in  no  way.  Nor  has  it  borrowed  superficial¬ 
ly  from  any  other  Asia  Minor  weaving.  But  what  the  origin 
and  purpose  were,  or  just  who  wove  the  rug,  has  not  been 
proven  with  any  conclusiveness.  Out  of  the  maze  of  gossip 
and  surmise  nothing  substantial  enough  for  publication  has 
yet  appeared.  But  at  least  we  can  thank  whatever  gods  may 
be  for  a  rug  not  only  original  and  beautiful,  but  one  charged 
with  sincere  and  contagious  emotion. 

GHIORDES  PRATER-RUG  ( Asia  Minor).  Latter  half 
XVIII.  Century.  5'  o"  x  t  o". 

Although  this  piece  was  woven  well  past  the  zenith  of  the 
Ghiordes  weaving,  as  is  shown  by  the  uncertain  drawing  of 
the  outer  border,  the  shape  of  the  arch,  and  the  excessive 
refinement  of  the  color,  it  none  the  less  possesses  a  good  deal 
of  charm.  It  has  a  delightful  degree  of  elegance,  while  its 
spaciousness  and  the  decisiveness  of  the  central  decoration 
give  it  a  good  deal  of  dignity. 

The  color  scheme  is  quite  unusual  for  a  Ghiordes. 

GHIORDES  PRAYER-RUG  (Asia  Minor).  Late  XVII. 
Century.  4'3"x5'7". 

GHIORDES  PRAYER-RUG  (Asia  Minor).  XVIII.  Cen¬ 
tury.  4'  3"  x  6'  0". 

KULAH  PRAYER-RUG  (Asia  Minor).  XVIII.  Century. 

3'  11"  x  6'  0". 

KULAH  PRAYER-RUG  (Asia  Minor).  XVIII.  Century. 

4'  2"  x  S'  9". 

Ghiordes  and  Kulah  prayer-rugs  have  long  been  considered 
to  mark  the  summit  of  Asia  Minor  weaving,  but  since  the 
earlier  pieces,  such  as  Oushaks,  Holbeins,  and  Armenian 
Dragon  rugs,  with  all  their  rich  and  sober  strength,  have 
come  to  light,  they  must  be  relegated  to  second  place.  The 
excessive  admiration  for  them  and  the  extravagant  age 
claimed  have  led,  in  the  minds  of  many,  to  a  somewhat  un¬ 
just  reaction.  Dr.  Martin  and  Dr.  Valentiner  both  speak 


n8 

ASIA  MINOR 

scornfully  of  them.  Yet  they  represent  a  very  distinct  and 
valuable  note  in  rug-weaving.  In  the  case  of  the  finer 
Ghiordes,  they  attain  an  accuracy  and  elegance  of  workman¬ 
ship  quite  comparable  to  highest  Persian  standards. 

But  they  have  far  more  to  commend  them  than  technical 
merits.  While  rarely  powerful  in  design,  like  the  early 
pieces,  and  while  sometimes  open  to  a  charge  of  excessive 
refinement,  they  are  none  the  less  often  conceived  with 
nobility  and  dignity,  and  are  sometimes  able  to  convey  a 
good  deal  of  sincere  and  intense  emotion. 

After  all,  aesthetic  appreciation  depends  to  a  considerable 
degree  upon  approach  and  expectation.  If  one’s  mind  is  set 
for  the  powerful  colors  and  stern  majestic  patterns  of  the 
early  Dragon  carpets,  or  if  one  is  looking  for  the  severity 
of  Holbein  rugs,  or  the  pomp  and  power  of  the  early 
Oushaks,  no  doubt  these  prayer-rugs  will  seem,  as  they  do 
to  Martin  and  Valentiner,  rather  thin  and  trifling. 

Yet  quite  a  different  estimation  might  result  if  we  could 
see  these  pieces  more  as  their  weavers  did,  with  less  of  cold 
curiosity,  less  of  a  demand  for  entertainment,  and  with 
more  of  the  spirit  of  reverence  that  led  to  their  devising. 
Only  if  we  set  aside  the  point  of  view  of  a  hard  and  com¬ 
placent  secularly  can  we  appropriate  the  full  meaning  and 
beauty  of  these  rugs.  We  are  willing  to  do  this  in  the  case 
of  Fra  Angelico;  why  not  with  the  unknown  but  equally 
devout  artists  from  Kulah  and  Ghiordes1?  These  rugs  are 
creations  of  religious  imagination.  They  were  devoutly  con¬ 
ceived  and  piously  rendered  with  the  single  intention  that 
they  be  appropriate  to  religious  emotion. 

A  careful  analysis  of  these  rugs  shows  how  completely 
the  religious  intent  dictates  both  the  general  design  and 
the  detailed  treatment.  The  shape  of  the  central  panel  is 
derived  from  the  arched  entrance  of  a  mosque,  often  with  j 
columns  depicted  on  either  side  and  the  mosque  lamp  hang¬ 
ing  in  the  centre.  More  important  is  the  significant  use  of 
repeating  figures  and  perplexing  patterns.  Exciting  and 
confusing  repetition  has  long  been  a  favorite  device  in  the 

RUGS 

77^ 

Orient  for  initiating  the  religious  ecstasy.  By  rocking  and 
whirling,  by  chanting  ritualistic  syllables  thousands  of 
times,1  by  other  devices  of  excessive  iteration,  the  devout 
have  from  time  immemorial  prepared  their  souls  for  the 
mystical  flight,-  or,  lost  in  some  intricate  maze,  such  as  we 
frequently  find  in  the  spandrels  of  these  rugs,  in  similar 
fashion,  the  sense  of  reality  becomes  dim  and  confused,  and 
the  worshiper  is  caught  up  out  of  this  world  to  merge  with 
the  Perfect  One. 

These  schemes  are  admirably  and  fully  carried  out  in 
No.  529.  There  are  here  fifty-one  vertical  stripes  of  equal 
width.3  These  stripes  contain  several  thousand  sharply  de¬ 
fined  repeating  figures  of  the  same  size,  while  the  central 
panel  has  about  a  thousand  more  of  slightly  different 
character.  By  separation  and  contrasting  colors,  each  one 
of  these  figures  exercises  a  strong  claim  upon  the  attention, 
creating  for  the  willing  observer  a  feeling  of  endless  and 
bewildering  multiplicity.  In  No.  531  this  effect  is  conveyed 
by  the  design  in  the  spandrel  of  the  rug,  where  the  gaze 
naturally  falls.  Here  the  figures,  though  few  in  number,  are 
both  complex  and  firmly  drawn,  so  that  the  eye  is  engaged 

" 

1One  incantation  calls  for  upward  of  24,000  complicated  repetitions,  while 
another  calls  for  137,613.  These,  of  course,  require  days  to  perform. 

jo  fascinating  are  these  recitals  and  performances  that  a  mere  scornful 
dog  of  a  Christian,  already  behind  in  some  exacting  sight-seeing  schedule, 
may  be  caught,  rooted  in  his  tracks,  and  held  in  almost  helpless  absorption. 

2A  self -induced  ecstasy  in  which  one  sees  visions  and  performs  wonders  is 
if ssfnt4?J  i>art  Mohammedanism,,  and  the  various  dervishes  are  adept 

at  both.  They  not  only  have  great  gifts  for  " seeing  things’’  by  day  as  well 
as  by  night,  but  under  the  influence  of  the  religious  emotion  make  easy 
hrdhng  irons,  eating  live  coals,  glass,  or  scorpions;  always 

exhibiting  these  signs  and  wonders,  not  for  vulgar  curiosity,  but  for  re¬ 
ligious  edification. 

:  .  .  it  is  plain  that  the  Sheik,  along  with  ordinary  instruction  of  the 
novice,  also  hypnotizes  him  and  causes  him  to  see  a  series  of  visions  mark- 
mg  his  penetration  of  the  divine  mystery.  The  part  that  hypnosis  and  auto- 
1  hypnosis,  conscious  and  unconscious,  have  played  here  cannot  easily  be 

1  exaggerated .  (Duncan  MacDonald,  Art.  Dervish,  Encyc.  Brit,  viii.,  p.  76.) 
bar  further  references  concerning  religious  ecstasy  among  the  Moham¬ 
medans  consult— -J.  P .  Brown,  Dervishes  and  Oriental  Spiritualism ;  Hughes, 

1  Dictionary  of  Islam;  Lane,  Modern  Egyptians;  Encyc.  of  Islam,  Art.  Faqir. 

Jn  *lle  colle.ct*on  °f  Kent-Cosiikyan  there  is  a  large  Ghiordes  with  over  a 
undred  stripes  and  more  than  ten  thousand  separate  figures. 

1 - - " - 

ASIA  MINOR 


120 


in  a  devious  and  baffling  exploration,  which  soon  becomes 
both  fascinating  and  hopeless. 

Some  of  the  rather  exalted  feeling  of  the  Kulah  No.  531 
comes  from  the  suggestion  in  the  panel  of  the  starry  sky, 
whose  infinite  repetitions  and  unfathomable  depths  are 
alike  calculated  to  inspire  awe. 

It  is  often  difficult  to  distinguish  between  Ghiordes  and 
Kulah.  In  general,  the  latter  have  a  high  flat  arch,  frequently 
many  stripes,  and  are  more  apt  to  use  warm  golden  colors 
or  deep  blue.  They  are  also  thicker  and  coarser  than  the 
Ghiordes  rugs.  But,  as  these  cities  adjoin  one  another,  we 
sometimes  find  the  patterns  interchanged.  No.  529  is  a  good 
example  of  this  confusing  practice.  Although  the  design  is 
distinctly  Kulah,  the  technique  of  the  weaving  shows  the 
piece  to  have  come  from  Ghiordes. 


53' 2 


KULAH  (Asia  Minor).  XVIII.  Century.  4'i"x5'9". 

This  piece  shows  a  striking  exception  to  the  severe  rule  of 
the  Sunnite  sect  that  natural  objects  may  not  be  in  any 
way  depicted.  The  dim  figures  on  either  side  of  the  main  field 
are  vague  sketches  of  cemeteries.  Such  a  lugubrious  sug¬ 
gestion  of  death  may  have  seemed  sufficiently  appropriate 
to  the  religious  attitude  to  be  permissible.  At  any  rate,  they 
are  fairly  common.  Quite  apart  from  religious  significance 
or  perfection  of  design,  the  exquisite  tones  of  this  rug 
command  our  enthusiastic  approval.  So  closely  do  they 
sometimes  approximate  the  color  of  old  Chinese  pieces  that 
Mr.  Mumford  insists  that  they  were  woven  by  a  tribe  of 
Chinese  derivation  swept  into  Asia  Minor  by  the  Mogul 
invasion  of  the  thirteenth  century.  The  color  of  this  piece 
and  No.  531  would  lend  support  to  the  suggestion,  while 
the  tree  and  round  conventionalized  blossoms  in  No.  530 
is  a  pattern  that  appears  frequently  on  old  Kashgar  and 
Samarkand  carpets. 


533 


BERGAMO  (Asia  Minor).  XVIII.  Century.  6'2"x6'2". 
Bergamo  weavings  are  the  despair  of  the  novice.  No  two 


RUGS 

121 

rugs  are  alike  and  none  complacently  follow  the  book  illus¬ 
trations.  We  might,  in  our  vexation,  accuse  the  Bergamo 
weavers  of  light-mindedness  and  caprice.  But  their  origin¬ 
ality  is  far  more  than  mere  eccentricity,  and,  despite  occa¬ 
sional  queerness,  they  often  produce  rugs  that  show  deep 
feeling  and  artistic  insight. 

The  design  of  this  particular  piece  is  rather  uncommon, 
although  it  is  probably  derived  from  very  early  Asia  Minor 
models,  as  is  shown  by  its  resemblance  to  the  carpet  shown 
in  Holbein’s  painting,  “The  Two  Ambassadors.”  The  pat¬ 
tern  may  seem  in  itself  fussy  and  meaningless,  but,  taken 
in  conjunction  with  the  color,  which  is  the  chief  glory  of 
this  piece,  it  is  seen  to  be  admirable  in  conception  and  execu¬ 
tion.  For  the  rug  is,  after  all,  but  a  tour  de  force  in  two 
tones,  and  even  the  Chinese  might  envy  the  richness  and 
even  magnificence  that  is  here  attained  by  such  simple 
means.  A  glowing  purple  haze  shines  from  this  rug,  al¬ 
though  the  wool  never  touched  purple  dye.  It  is  woven  sole¬ 
ly  of  two  colors,  blue  and  red,  but  they  are  so  adroitly  inter¬ 
mingled  that  the  eye  blends  these  primary  colors  into  a  new 
tone  of  surprising  radiance.  The  weaver  of  this  rug  well 
knew  the  pointilliste  principle,  that  the  color  mingled  on  the 
retina  is  richer  and  more  intense  than  any  mixed  upon  the 
palette.  A  simple  test  shows  how  completely  he  has  suc- 
1  ceeded  and  how  perfectly  the  design  effects  this  combina¬ 
tion  :  the  broad  bands  at  either  end  of  the  field  seem  of  a 
j  clear  blue,  only  because  they  are  of  sufficient  area  to  resist 
mingling  with  the  red.  Incredible  as  it  seems,  a  careful 
matching  of  the  colors  proves  that  this  pure,  bright  blue  is 
j  precisely  the  same  as  the  purplish-appearing  tones  of  the 
finer  figures.  This  uncommon  color  scheme  was  inspired  by 
some  of  the  early  Oushaks,  and  the  general  effect  of  this 
piece  quite  resembles  a  fine  sixteenth-century  Oushak  carpet 
belonging  to  Mr.  Williams. 

The  little  white  flicks  are  thrown  in  to  modify  the  other¬ 
wise  too  perfect  symmetry  which  might  attract  the  ever¬ 
present  evil  eye. 

ASIA  MINOR 


BERGAMO  PRAYER-RUG  (Asia  Minor).  Dated  1838. 

3'  9"  x  5'  2". 

It  is  often  thought  that  only  dilapidated  rugs  can  rank  as 
antique,  but  tatters  are  no  proof  of  age  or  merit,  and  we 
often  find  quite  old  rugs  that  are  decidedly  fresh  in  appear¬ 
ance.  As  far  as  the  surface  of  this  rug  shows,  it  might  have 
been  woven  yesterday,  but  the  declaration  of  the  date,  un¬ 
questionably  genuine,  is  confirmed  by  the  color,  the  design, 
and  the  weave.  It  is  certain  that  this  piece  has  had  exquisite 
care  ever  since  it  came  from  the  loom.  Not  only  do  the 
faithful  always  handle  prayer-rugs  tenderly,  but  if,  as  the 
liberal  amount  of  green  would  indicate,  this  piece  belonged 
to  some  person  in  religious  authority  or  to  some  mosque,  it 
would  have  been  guarded  with  especial  solicitude. 

The  Bergamo  weavers,  the  most  notorious  eclectics  in 
Asia  Minor,  collected  right  and  left  for  this  rug :  the  decor¬ 
ated  octagon  in  the  centre  is  from  a  Holbein  rug,  while  the 
central  pattern  is  to  be  found  on  old  Armenian  pieces ;  the 
spearheads  are  principally  Ladik  or  Mudjar,  the  main 
border  stripe  is  Caucasus;  the  guard  stripes  Persian;  in  the 
spandrel  are  figures  that  seem  to  be  miniature  Shah  Abbas 
patterns,  while  some  of  the  small  medallions  look  very 
Chinese. 

Yet  the  piece  is  not  confused.  The  various  elements,  how¬ 
ever  widely  separated,  are  translated  into  a  common  decor¬ 
ative  language ;  the  symmetrical  arrangement,  the  extensive 
area  of  the  field  color,  and  the  dominance  of  the  central 
octagon  all  tend  to  impart  unity  and  consistency.  Yet  if  to 
Western  eyes  the  design  is  insufficiently  continuous,  there 
should  be  consolation  in  the  strong  clear  color.  The  violet 
and  garnet  tones  are  admirable,  and  the  reds,  blues,  and 
greens  are  also  of  uncommon  force  and  purity,  while  even 
the  white  has  an  exceptionally  mellow  quality. 

BERGAMO  (Asia  Minor).  Middle  XIX.  Century. 

4'  8"  K  11'  6". 

Compared  to  the  Bergamo  weavers,  the  other  rug-makers 
of  Asia  Minor  seem  cabined  and  confined.  For  generations 


RUGS 


they  repeat  the  local  and  accepted  patterns,  admitting  only 
slight  variation  due  to  personal  skill  or  special  circumstances. 
But  the  Bergamos  essay  a  bewildering  number  of  patterns, 
and  manage  them  all  with  easy  confidence.  One  could  read¬ 
ily  find  a  dozen  pieces  of  great  beauty  that  would  seem  va¬ 
ried  enough  to  represent  a  whole  country  instead  of  coming 
from  a  single  city  and  its  surrounding  villages. 

The  richness  of  this  piece  comes  not  merely  from  the  deep 
colors  and  glossy  pile,  nor  even  from  the  unusual  shading, 
but  quite  as  much  from  the  complete  interpretation  of  colors, 
effected  by  the  various  hooks  and  long  lines  of  opposing 
tones  that  break  up  every  considerable  expanse.  The  excel¬ 
lent  breadth  and  strength  come  from  the  angular  drawing 
and  the  wide  rectangular  panels. 


BERGAMO  (Asia  Minor).  Middle  XIX.  Century. 

3'  4"  x  3'  7". 


536 


This  is  one  of  the  commonest  of  the  various  editions  of  Ber¬ 
gamo  weaving  and  one  of  the  most  satisfying.  Its  soft  rest¬ 
ful  depth  and  quiet  colors  bespeak  the  Ottoman  love  of 
luxury,  even  among  the  lowly  folk,  for  this  rug  was  proba¬ 
bly  not  woven  in  the  town  itself,  but  in  the  outlying  country. 

For  all  the  appearance  of  the  rug  is  so  unlike  the  other 
Bergamos,  a  careful  examination  will  show  some  fundamen¬ 
tal  similarities,  particularly  with  No.  534,  with  its  double- 
pointed  field  design,  square  shape,  and  mellow  tones. 


OUSHAK  (Asia  Minor).  Late  XVIII.  Century. 

5'  4"  x  7'  9". 


537 


In  the  fifteenth  and  sixteenth  centuries  rugs  of  exceeding 
beauty  and  elegance  were  produced  at  Oushak.  Woven  at  a 
time  when  the  modern  Persian  Empire  was  at  the  summit 
of  its  greatness,  they  reflected  something  of  the  Persian 
preference  for  floral  decoration.  This  may  have  been  due  to 
admiration,  or  more  directly  to  the  fact  that  Soleiman  I. 
captured  Persian  weavers  in  his  wars  with  Shah  Ismael  and 
promptly  set  them  to  work  in  his  own  factories.  While  the 
main  pattern  was  generally  of  large  star  forms  of  Arabic 


124 

ASIA  MINOR 

derivation,  the  field  and  the  borders  nearly  always  depicted 
vines  and  blossoms.  The  background  of  some  pieces,  as,  for 
example,  those  shown  at  the  Munich  Exposition  of  Moham¬ 
medan  Art,  attained  a  floral  magnificence  almost  rivaling 
Persian  carpets.  A  number  of  these  Oushak  pieces  were  im¬ 
ported  into  Europe  and  are  to  be  seen  in  Renaissance  paint¬ 
ings.  The  accompanying  illustration  gives  a  good  idea  of  the 
richness  and  delicacy  of  earlier  Oushaks,  but,  as  the  Persian 
influence  declined,  the  native  Turkish  genius  for  broad  and 
simple  treatment  gradually  asserted  itself,  culminating  in 
the  more  characteristic  Ottoman  design  shown  here.  Yet  even 
in  this  comparatively  late  rug  there  are  still  traces  of  the 
early  Persian  influence.  The  highly  conventionalized  border 
suggests  large  blossoms  on  creeping  vines,  while  the  free 
and  happy  strewing  of  flower  forms  about  the  field  is  quite 
Persian  in  feeling.  The  Persian-looking  fringe  is  a  recent 
addition. 

After  the  eighteenth  century  weaving  in  this  region  de¬ 
teriorated  rapidly,  until  in  recent  times  Oushak  carpets 
have  wholly  lost  artistic  interest  or  importance.  They  are 
now  manufactured  on  a  large  scale  according  to  the  factory 
system ;  the  weaving-  is  loose  and  coarse,  the  designs  crude, 
the  colors  few. 

This  piece,  however,  was  woven  well  before  the  final  de¬ 
generation  set  in,  and,  while  much  brighter  and  simpler  in 
treatment  than  its  more  famous  ancestors,  yet  it  is  worthy 
of  its  great  inheritance.  No  piece  in  the  collection  can  com¬ 
pete  with  this  in  sheer  force.  The  brisk  little  flowers  and  the 
sharp  angles  lend  vivacity  and  excitement,  while  the  mas¬ 
sive  figures  and  the  deep  colors,  with  their  strong  but  harmo¬ 
nious  contrast  and  heavy  outlines,  give  a  feeling  of  weight 
and  substantiality  rarely  attained  in  any  rug.  If  there  be 
any  deficiency,  it  may  be  that  the  border  is  not  quite  strong 
enough  to  balance  and  restrain  the  central  design.  Although 
the  rug  seems  to  be  entirely  plain  and  straightforward,  as 
becomes  a  true  Turk,  there  are,  nevertheless,  some  elaborate 
and  effective  modulations  of  both  color  and  design.  The 

53i 


Kulali  Prayer-Rug 


RUGS 

125 

greens  of  the  central  medallion,  as  well  as  the  two  upper 
lobes,  are  richly  shaded. 

Such  a  piece  disposes  of  the  common  fallacy  that  the 
value  of  a  rug  is  strictly  proportionate  to  the  fineness  of 
the  weaving.  This  is  no  more  true  in  rug-making  than  in 
painting.  Who  wants  Millet’s  peasants  rendered  with  the 
finicky  brushwork  of  a  Fortuny?  To  have  rendered  a  broad 
and  ponderous  design  with  fine  knotting  and  closely 
trimmed  pile  would  compromise  the  whole  effect.  Carpet 
designs  are  by  no  means  merely  two  dimensional,  but  the 
suggestion  of  different  planes,  and  often  the  actual  thick¬ 
ness  of  the  rug,  are  essential  elements  in  the  total  effect. 

The  green,  which  is  the  sacred  color,  and  not  commonly 
used  in  Western  Asia  Minor,  indicates  that  the  rug  was 
woven  for  a  religious  purpose,  very  likely  for  presentation 
to  a  mosque.  The  fringe  is  a  recent  addition. 

AK-HISSAR  PRAYER-RUG  (Asia  Minor).  Middle 
XIX.  Century,  s'  11"  x  5'  4". 

Ak-Hissar  rugs  of  the  old  type  are  so  rare  that  neither  Mr. 
Mumford  nor  Mr.  Hawley  describes  them  as  types,  yet  Ak- 
Hissar  must  have  been  a  favorable  place  for  rug-making 
or  the  large  modern  factories  would  never  have  been  estab¬ 
lished  there.  But  dealers,  travelers,  and  a  few  collectors  have 
long  insisted  that  there  is  a  definite  type  coming  from  this 
region,  and  as  they  can  exhibit  rugs  with  a  convincing  his¬ 
tory  in  support  of  their  contention  it  must  be  allowed.  The 
probability  is  that  rugs  of  high  quality  were  so  compara¬ 
tively  scarce  and  the  designs  of  the  pieces  purporting  to 
come  from  Ak-Hissar  so  varied  that  some  authorities  have 
hesitated  to  acknowledge  the  class. 

If  the  flaming  colors  of  this  rug  appeal  to  the  Westerner 
as  indecorously  jubilant  for  a  prayer-rug,  it  must  be  remem¬ 
bered  that  in  the  East  religion  is  not  the  occasional  and 
lugubrious  affair  that  it  is  so  often  in  the  West.  Indeed,  the 
Mohammedans  of  Asia  Minor,  at  least,  take  their  religion 
with  something  of  the  enthusiasm  and  good  cheer  of  the 

00 

126 

ASIA  MINOR 

Italians.  Their  mosques  are  often  gorgeously  decorated  in¬ 
side  and  out.  Unlike  both  Jews  and  Puritans,  their  local 
pilgrimages  are  generally  the  occasion  of  a  good  deal  of 
jollification.  Hence  the  most  sumptuous  colors  even  for  the  j 
prayer-rug  seem  wholly  appropriate. 

In  the  present  instance  the  Oriental  sun,  that  greatest  of 
colorists,  as  Martin  says,  happily  conspired  with  the  weaver, 
for  an  exploration  of  the  sub-surface  colors  proves  that  the  i 
original  combination  was  of  reckless  intensity.  Now  the 
slightly  faded  surface  provides  a  soft  veil  through  which 
the  under  colors  glow  as  if  with  self-illuminating  fire.  : 

539  , 

MELES  PRAYER-RUG.  Middle  XIX.  Century.  ; 

y  8"  x  4'  7".  ; 

Meles  prayer-rugs  are  one  of  the  easiest  of  all  rugs  to  i 
identify.  The  multiplication  of  borders,  leaving  the  central  | 
field  rather  narrow,  the  deeply  indented  prayer  panel,  the 
cherry  red  of  the  main  field,  the  ivory  white  of  the  spandrel, 
and  the  greenish  gold  of  the  borders,  with  the  touches  of 
lavender,  are  all  thoroughly  characteristic  and  are  here 
shown  conspicuously. 

The  lavender  spray  of  the  main  border  is  gracefully  ren¬ 
dered,  and  the  rather  strange  color  scheme  is  skilfully  and 
agreeably  harmonized. 

54o 

MELES  (Asia  Minor).  Middle  XIX.  Century.  io"xs'  9". 
There  is  method  in  the  madness  of  this  jumbled  design. 
Seemingly  perverse,  the  arrangement  is  none  the  less  delib¬ 
erately  planned  and  artistically  justifiable.  Meles  weavers 
have  long  enjoyed  high  repute  as  colorists,  and  to  attain 
novel  and  insistent  color  schemes  seems  to  be  an  ambition 
with  them.  In  rugs  of  this  type  the  pattern  is  either  subordi¬ 
nated  or  made  purely  instrumental  to  the  intended  color  ef¬ 
fect.  The  common  distinctions  between  border  and  centre, 
patterns  and  field,  are  almost  lost  in  a  maze  of  beautiful 
tones.  No  sooner  does  one  grasp  a  stable  element,  such  as 

RUGS 

1 2  7 

one  of  the  broad  stripes,  than  it  is  abruptly  broken  and  the 
color  reversed  for  an  equal  distance,  while  the  strongly 
marked  undulating  vines  stimulate  the  eye  to  an  incessant 
roving  that  tends  to  mingle  widely  dispersed  colors  into  a 
harmonious  ensemble.  Although  the  color  fusion  is  not  so 
soft  and  complete  as  in  the  Yuruks,  these  pieces  have  by 
way  of  compensation  a  greater  brilliance,  which  comes  from 
the  decisive  drawing,  the  hard,  compact  surface,  the  multi¬ 
ple  spot  stripes,  and  the  bright  Persian-looking  blossoms  in 
the  outer  border.  Seen  at  a  little  distance  the  rug  shimmers 
and  glows  with  a  beautiful  radiance  that  quite  atones  for 
the  absence  of  the  conventional  patterning. 

MELES  (Asia  Minor).  Latter  half  XIX.  Century. 

3'  0"  x  4'  4". 

hH 

Vo 

RHODIAN  ( Asia  Minor).  Latter  half  XIX.  Century. 

4'  3"  x  6'  4" 

542  ; 

Rhodian  rugs,  though  rare,  have  such  a  positive  character 
that  they  can  be  at  once  recognized  even  by  the  novice.  Thick 
pile,  strong  deep  colors,  the  long  panels  of  the  field,  and  the 
rather  wild-looking  knotted  braids  at  the  ends  are  character¬ 
istic  features  that  once  seen  are  never  forgotten. 

The  long  central  panels  are  almost  certainly  the  repre¬ 
sentation  of  the  stained-glass  gothic  windows  in  the  Church 
of  St.  John  and  the  Castle  of  St.  John,  which  was  built  by 
the  Knights  Hospitallers  of  St.  John  of  Jerusalem  in  the 
fourteenth  century.  Such  windows  must  have  early  caught 
the  imagination  of  the  inhabitants ;  for  not  only  would  they 
appear  beautiful  to  such  connoisseurs  of  color  as  these  peo¬ 
ple  have  long  been,  but  their  very  uniqueness  in  this  part 
of  the  world  must  have  intensified  the  impression. 

The  Knights  of  St.  John  really  created  the  modern  city 
of  Rhodes  and  for  a  time  made  it  powerful  and  prosperous. 
Perhaps  the  representations  of  the  cathedral  windows  in 
Rhodian  rugs  carry  with  them  something  of  grateful  re¬ 
membrance  of  the  city’s  former  glory. 

ASIA  MINOR 


MUD  JAR  PRAYER-RUG  ( Asia  Minor).  Middle  XIX. 
Century.  3'  9"  x  s'  9". 

Mudjar  rugs  are  not  very  common  in  this  country,  and, 
since  they  are  frequently  confused  with  the  more  numerous 
Kir-Shehrs,  which  they  resemble,  they  are  not  very  often 
recognized.  Nevertheless,  they  constitute  one  of  the  best  de¬ 
fined  and  most  desirable  types  of  Asia  Minor  prayer-rugs. 

This  piece  is  in  every  way  characteristic.  The  wide  bor¬ 
ders  give  an  almost  Persian  effect  of  intricacy  and  richness. 
The  component  elements  are,  however,  all  geometrical,  yet 
so  delicate  is  the  drawing  and  so  varied  the  coloring,  par¬ 
ticularly  in  the  mosaic-like  inner  border  and  the  four  guard 
stripes,  that  much  of  the  decorative  advantage  of  floral  de¬ 
sign  is  secured  by  these  more  modest  means.  In  all  such 
rugs  the  plain  field,  with  its  deep  expanse  of  color,  fur¬ 
nishes  a  gratifying  contrast  to  the  more  nervous  border 
treatment. 

The  quiet  softness  of  these  individually  intense  colors  is 
secured  in  a  number  of  ways.  A  predominant  greenish  cast 
unifies  the  variegated  border,  the  strong  centre  area  is 
quietly  enriched  by  almost  unnoticeable  shading,  and  its 
boundary  is  concealed  by  oblique  lines  of  little  flowers  that 
project  into  the  field.  Finally,  the  field  is  withheld  from  too 
close  contact  with  the  green  spandrel  by  wide  defining  lines, 
and,  on  the  outer  side  of  the  prayer  arch,  by  a  neutralizing 
blend  of  complementary  colors  that  at  a  little  distance  cre¬ 
ates  a  sort  of  penumbra  about  it. 

TUZLA  PRAYER-RUG  ( Asia  Minor).  Early  half  XIX. 
Century.  3'  ?"  x  s' 

Pieces  such  as  this  are  quite  rare,  and  when  they  do  appear 
cause  a  good  deal  of  confusion  and  argument.  By  many 
they  would  be  classed  as  Konias,  on  account  of  the  pattern 
and  general  color  scheme.  But  they  all  have  a  thick  woolen 
warp  which  bespeaks  the  Nomad,  and  the  pile  is  always 
much  thinner  than  is  to  be  found  in  true  Konias.  So  dealers 
and  importers  have  had  convenient  recourse  to  the  name  An- 


546 


. 


Kuba 


RUGS 


atolian,4  a  name  which  covers  a  multitude  of  doubts,  for  it 
is  applied  rather  indiscriminately  to  all  the  Nomadic  weav¬ 
ings  of  the  Province  of  Konia  and  some  of  the  districts  to 
the  east.  For  the  most  part  these  so-called  Anatolians  are 
very  rough  and  crude,  having  little  artistic  merit  besides 
their  utter  frankness  and  an  occasional  flash  of  deep  color. 
1  o  merge  with  that  unillustrious  herd  such  an  aristocratic 
rug  as  this  would  be  both  careless  and  unjust.  It  has  a  dis¬ 
tinguished  individuality  and  a  local  habitation,  so  it  is  well 
entitled  to  its  own  name. 

Although  it  seems  rather  too  elegant  to  be  the  work  of 
shepherds  and  wanderers,  yet  there  are,  besides  the  thick 
warp,  reliable  evidences  of  Nomadic  authorship.  Note,  for 
example,  the  cheerful  lack  of  symmetry  between  the  two 
sides  of  the  mam  border,  and  (at  either  end  of  the  panel 
above  the  arch)  the  cluster  of  bright-colored  squares,  which 
closely  resemble  the  working  of  the  same  device  in  the  No¬ 
madic  rug  from  Western  Kurdistan  (No.  508).  There  is 
also  the  usual  Nomadic  eclecticism:  the  drawing  of  the 
prayer-arch  is  Kir-Shehr,the  rosettes  in  the  border  are  La- 
dik,the  smaller  borders  are  reminiscent  of  Mudjar,  while  the 
coloring  and  the  panel  above  the  arch  are  from  Konia.  But 
the  rich  and  harmonious  ensemble — quite  the  most  important 
thing  must  be  credited  to  the  Tuzla  workers  themselves. 


YURUK  (Asia  Minor).  Middle  XIX.  Century. 

The  \  uruks,  a  mild  and  gentle  folk,  exhibit  their  happy 
character  in  these  soft  and  winning  shades.  There  is  not 
much  clearly  thought-out  pattern  design,  but  that  is  not  al¬ 
ways  necessary.  It  is  sometimes  grateful  to  revel  in  the 
sheer  luxury  of  color  without  the  restraining  interruption 
of  outline.  Yet  despite  the  absence  of  drawing  the  rug  does 
not  seem  incoherent.  The  novel  colors  are  blended  into  a 
sane  and  harmonious  color-chord  that  is  as  satisfying,  to 
some  moods  at  least,  as  the  most  nicely  calculated  linear 
symmetry. 

4 Anatolia  is  simply  the  ancient  name  for  the  whole  of  Asia  Minor. 


CAUCASUS 


C. 

CAUCASUS  RUGS 


KUBA  {Caucasus).  XVIII.  Century.  4'  9"  x  12'  8". 

The  beauty  of  such  a  fine  old  piece  as  this  needs  little  eluci¬ 
dation.  The  vigor  of  the  design,  the  pure  deep  colors,  and 
the  firm  drawing,  as  well  as  the  fine  balance  between  border 
and  centre,  must  be  apparent  to  even  a  casual  observer. 
But  although  this  carpet  represents  a  well-known  type,  the 
origin  of  the  design  is  not  wholly  settled. 

Very  likely  admiration  for  the  great  Persian  carpets,  of 
which  the  Herats  were  the  commonest,  dictated  the  general 
effect.  But  to  say,  as  Martin  does,  referring  to  the  South 
Kensington  piece  which  is  almost  the  mate  to  this,  that  this 
particular  type  was  woven  in  imitation  of  the  Herat  or  so- 
called  Ispahan  carpets  is  too  off-hand.  In  line  with  Mar¬ 
tin’s  theory,  and  quite  as  dubious,  is  the  affirmation  that 
the  border  is  a  geometrical  rendition  of  the  famous  Herati 
pattern  (two  lancet  leaves  surrounding  a  rosette). 

In  the  first  place,  these  carpets  resemble  Herats  in  such  a 
vague  and  general  way  that  a  good  deal  of  evidence  would 
be  needed  to  establish  any  very  definite  connection  between 
them.  Yet,  in  the  face  of  a  dissimilarity  that  creates  a  pre¬ 
sumption  against  this  theory,  Martin  offers  neither  proof 
nor  argument  for  his  derivation. 

|  The  dissimilarity  between  these  pieces  and  Herats  can¬ 
not  be  explained  away  as  due  merely  to  the  limitations  of 
Caucasus  technique,  for  there  are  in  existence  a  number  of 
carpets  from  this  region  that  quite  tolerably  approximate 
Persian  work.  Martin  illustrates  an  animal  carpet  copied  by 
the  Caucasus  weavers.  There  is,  besides  the  Von  Girgl  carpet 
in  Budapest — and  in  this  collection  No.  547  follows  the 
Shiraz  type  quite  closely,  but  there  are  a  number  that  were 
made  in  deliberate  and  unquestioned  imitation  of  Herats. 
Quite  unlike  the  piece  in  question,  they  show  a  profusion  of 
cloud-bands,  large  palmettes,  unmistakable  lancet  leaves, 


RUGS 

IS* 

small  rosettes  on  interlacing  vines,  in  fact  all  the  character¬ 
istic  elements  of  Herat  design.  The  conclusion  seems  in¬ 
evitable  that  the  weavers  who  made  this  particular  rug 
could  have  followed  Herats  had  they  so  chosen,  but  that 
they  purposely  followed  another  model. 

There  are  reasons  for  thinking  that  the  real  sources  of 
this  design  are  to  be  found  in  the  Timurid  carpets  of  the 
fourteenth  or  fifteenth  century,  which  the  Caucasus  weav¬ 
ers  may  have  seen  either  in  original  or  in  copy,  or  possibly 
only  in  painted  miniatures.  The  Caucasus  carpets  bear  a 
far  closer  resemblance  to  these  ancient  pieces  than  they  do 
to  Herats.  A  Timurid  manuscript  in  the  British  Museum, 
dated  1410,  shows  a  Cufic  border  almost  exactly  like  that 
on  the  rugs  in  question,  while  the  centre  of  the  rug  is  com¬ 
posed  chiefly  of  large  stars.  Now  effulgent  stars  constitute 
fully  half  the  centre  design  of  these  Caucasus  carpets1 
Even  where  there  are  palmettes,  they  almost  always  have 
at  their  centre  eight-pointed  stars.  A  miniature  in  another 
Timurid  manuscript,  in  the  Monastery  of  the  Dancing  Der¬ 
vishes  at  Pera,  Constantinople,  dated  1478,  shows  another 
carpet  with  just  the  same  border,  only  the  centre  in  this 
piece  is  floral.  It  includes  a  branching  foliate  form  resem¬ 
bling  a  lily,  which  is  also  to  be  found,  not  much  changed, 
in  the  Caucasus  carpets.  One  need  only  to  combine  the  cen¬ 
tre  pattern  of  these  two  fifteenth  century  carpets  to  get  a 
pattern  very  close  to  the  one  used  by  the  Caucasus  weavers 
and  far  closer  than  any  Herat  could  possibly  be. 

KABISTAN  (Caucasus).  Early  XIX.  Century. 

4'3"x9'8". 

This  is  a  Caucasus  copy  of  a  Persian  rug,  woven  at  about 
the  time  when  patterns  from  the  Laristan  province  were  be¬ 
ing  introduced  into  the  neighboring  district  of  Baku.  It  has 
none  of  the  characteristics  of  the  Kabistan  except  technical 
construction.  Were  the  palm-leaves  only  a  little  larger  and 
the  wool  a  bit  longer  and  glossier,  the  rug  would  at  a  little 
distance  appear  to  be  a  Shiraz  or  a  Niris. 

547  ; 

1For  illustrations,  see  Martin,  figures  7/  and  83. 

CAUCASUS 


DAGHESTAN  PRAYER-RUG  (Caucasus).  Dated 

1827.  s'  4"  x  3'  10". 

DAGHESTAN  PRAYER-RUG  ( Caucasus).  Early  XIX. 

Century,  s’  4"  x  4'  7". 

These  two  Daghestan  prayer-rugs  admirably  embody  and 
express  the  spirit  of  Caucasus  design,  with  its  almost 
Greek  passion  for  clarity  and  definiteness.  They  have  a 
New  England  sobriety  of  color ;  and  in  the  sharp,  tight 
drawing  there  is  nothing  of  the  flowing  luxuriousness  of 
Persian  pattern.  Here  the  flower  motives  are  stark  and  stiff, 
each  separate  from  its  neighbor.  Nor  is  there  any  of  the 
breadth  or  massiveness  that  appears  in  such  weavings  as 
the  Oushak  or  Bergamo,  nor  any  of  that  leisurely  reflective 
quality  that  characterizes  Chinese  weaving.  Even  in  the 
Asia  Minor  prayer-rugs,  which  are  the  most  intricate  and 
intense  of  all  Turkish  weavings,  we  generally  find  some 
plain  open  color  that  affords  repose  for  the  spirit  of  the 
milder-mannered  Ottoman.  But  the  Caucasus  designers,  like 
the  ancient  Greeks,  seem  to  have  a  horror  of  blank  spaces. 
They  apparently  seem  to  them  lazy  and  uninteresting,  and 
these  weavers  are  surely  neither.  They  come  from  a  terrific 
country,  where  neither  man  nor  nature  is  quiet  or  gentle. 
Mountains  that  rival  the  Alps  in  size  and  roughness  neces¬ 
sitate  a  vigorous  and  intense  life,  while  the  population  of 
I  the  region  constitutes  a  veritable  ethnological  bedlam  that 
must  operate  as  a  constant  challenge  to  courage  and  effort. 
The  rugs,  like  the  people,  are  alert  and  decisive ;  they  are 
effective,  not  through  magnificence,  but  rather  through 
clearness  and  consistency.  In  No.  54^’  f°r  example,  despite 
all  the  excitement  of  the  sharp  angles,  broken  lines,  and 
crisply  drawn  figures,  there  is  a  certain  repose  that  comes 
from  a  fine  balance  of  all  motives :  the  border  and  the  field 
are  in  perfect  equilibrium;  the  delicacy  of  the  drawing  is 
matched  by  the  fineness  and  elegance  of  the  weaving.  The 
intricate  center  field  is  thought  out  so  carefully,  the  repeat¬ 
ing  figure  is  varied  with  such  a  finely  marked  rhythm,  and 


Baku 


RUGS 

133 

the  whole  is  so  precisely  rendered,  that  the  entire  design  is  at 
once  grasped  with  gratifying  ease. 

All  harshness  is  avoided  through  the  mingling  of  well- 
contrasted  colors  by  means  of  various  devices  known  to  the 
Oriental  weaver.  For  instance,  the  inner  guard  stripe  is  a 
reciprocal  of  complementary  colors  that  tend  to  cancel  one 
another,  the  trellis  pattern  is  drawn  with  crooked  outline, 
and  the  open  broken  figures  of  both  field  and  border  effect  a 
complete  interpenetration  of  colors  which  results  in  a  de¬ 
lightful  combination  of  softness  and  brilliance. 

The  average  Daghestan  is  much  heavier  in  weave  and 
broader  in  treatment,  but  the  religious  use  for  which  this 
piece  was  intended  inspired  the  weaver  to  an  uncommon 
degree  of  refinement.  As  Daghestans  were  among  the  first 
rugs  to  be  imported  into  this  country  in  any  numbers,  and 
as  prayer-rugs  formed  a  considerable  proportion  of  the  out¬ 
put,  there  are  no  doubt  fine  pieces  of  this  general  type  ban¬ 
ished  to  obscure  corners  in  many  a  San  Francisco  home, 
while  some  sleek  and  gaudy  rug  that  has  no  portion  of  its 
artistic  sincerity  is  awarded  the  place  of  honor  in  the  draw¬ 
ing-room. 

No.  210  in  the  South  Kensington  Museum  is  almost  ex¬ 
actly  the  same  as  No.  549. 2  It  is  not  as  good  as  No.  548. 

BAKU  (Caucasus) .  Middle  XIX.  Century.  3' 6"  x  5' 10". 

This  solemn  rug  came  from  the  famous  city  of  Baku,  on 
the  west  coast  of  the  Caspian.  The  city  was  famous  ten 
centuries  ago  for  its  architecture.  It  is  famous  now  for  its 
oil  wells. 

The  rug  itself  would  be  a  marked  and  mysterious  piece 
in  any  collection.  It  speaks  a  new  and  powerful  decorative 
language  which  must  constrain  the  attention  of  the  least 
careful  observer.  In  it  seem  crowded  the  record  of  fearful 
imaginings  and  the  memory  of  strange  ceremonies.  Some¬ 
thing  of  the  spirit  of  an  ancient  religion  is  here  retained, 
not  only  in  the  general  aspect,  but  in  the  now  unreadable 

55° 

2See  Victoria  and  Albert  Museum,  Guide  to  the  Collection  of  Carpets,  Plate 

XXVI. 

134 

CAUCASUS 

symbols  of  long-neglected  rites.  Although  the  general  treat¬ 
ment  is  obviously  Caucasian,  the  brilliant  lucidity  of  the 
neighboring  rugs  is  missing,  and  in  its  place  is  a  curious 
array  of  flower  motives  and  cabalistic  signs  quite  foreign  in 
feeling  to  the  honest  geometry  of  Daghestan. 

The  reasons  for  this  novel  and  imported  air  are  fairly 
plain.  Baku  was  for  centuries  a  Persian  city,  and,  while 
the  back  countries  maintained  something  like  independence, 

Baku  was  a  Persian  capital.  The  mosque  built  by  the  Per¬ 
sian  Shahs  in  the  eleventh  century  still  stands,  and  the 
ruins  of  a  palace  of  one  of  the  Persian  Khans  still  shows 
how  thoroughly  Persianized  the  place  was  in  the  sixteenth 
century.  This  Persian  influence  accounts  fully  for  the  pres¬ 
ence  of  the  blossoms  and  the  pear  or  crown- jewel  device. 

More  specific  influence  probably  came  from  the  Zoroas- 
trians,  for  Baku  was  long  one  of  their  strongholds.  The 
central  figure  in  the  rug,  with  its  striking  rays,  was  pretty 
surely  derived  from  some  Zoroastrian  symbol  of  the  sun, 
while  the  pear  pattern  also  is  probably  an  image  of  the 
sacred  flame. 

But  even  so,  these  purely  Persian  conceits  could  hardly 
have  been  woven  into  rugs  with  such  sympathy  and  under¬ 
standing  by  the  ordinary  native  of  the  Caucasus,  who  must 
have  constituted  the  bulk  of  the  population  of  Baku. 

The  problem  is  solved  by  recalling  that  Nadir  Shah 
transferred  to  the  Baku  region  a  community  of  weavers 
from  near  Shiraz,  where  the  flame  or  pear  pattern  has  long 
been  a  matter  of  common  mastery.3  They  it  was  who  brought 
in  also  the  dark  field  and  the  diagonal  stripe. 

Generally,  in  Baku  rugs  this  pear  or  flame  pattern  is 
rendered  more  after  the  Shiraz  manner;4  but  this  solid 
yellow  surely  is  more  flamelike,  and  is  perhaps  nearer  to 
the  original  inspiration.  Most  Baku  rugs  are  paler  in  color, 
sometimes  almost  bleak  in  tone,  as  if  reflecting  the  dreari¬ 
ness  of  the  surrounding  region.  

*Cf  above,  p.  30;  also,  the  Shiraz  rug  No.  524  and  the  Nins  No.  521,  and  also  1 
the  supplementary  plate  No.  xxiv.  of  the  commoner  sort  of  Bakus.  j 

*See  supplementary  plate  No.  xxiv.  j 

RUGS 


135 


FRAGMENTS  OF  KARABAGH.  Early  XIX.  Century.  551 

2'  8"  x  S'  0". 


This  rug  consists  of  six  fragments  sewn  together  into  a 
tolerably  satisfactory  design.  It  is  only  the  remains  of  a  rug, 
yet,  mutilated,  torn,  and  patched  as  it  is,  it  shines  even  now 
with  a  splendor  and  vigor  that  defiantly  challenge  any  con¬ 
temporary  weaver. 


KARABAGH  (Trans-Caucasus) .  Early  half  XIX.  Cen¬ 
tury.  3'  10"  x  6'  8". 


552 


In  no  rug-weaving  has  the  deterioration  been  so  swift  and 
so  complete  as  in  the  case  of  the  Karabaghs.  The  reason  is 
not  exactly  clear.  Certain  it  is  that  the  decline  had  set  in 
well  before  the  invasion  of  Western  business.  The  latter 
only  expedited  a  ruin  already  begun.  Was  it  some  slackness 
in  the  native  character,  or  a  “superior  progressiveness,”  that 
led  them  to  succumb  to  Western  commercial  methods  so 
readily?  It  could  not  have  been  merely  a  matter  of  acces¬ 
sibility,  for  their  Daghestan  neighbors  to  the  north  were 
stoutly  resisting  the  Western  agent  and  all  his  works,  when 
the  Karabagh  weaver  was  already  quite  recklessly  using 
aniline  dyes  of  the  vilest  sort,  weaving  swiftly  and  care¬ 
lessly  the  worst  rugs  that  have  come  out  of  the  Orient. 

Stupid  and  atrocious  as  most  Karabagh  rugs  are  today, 
yet  time  was,  as  this  piece  and  its  neighbors  show,  when  they 
were  woven  magnificently.  They  once  enjoyed  great  fame, 
but  the  old  pieces  have  been  so  rare  that  skeptics  have  sug¬ 
gested  that  their  great  repute  was  but  an  unsubstantiated 
myth.  One  fortunate  enough  to  have  seen  a  high-class  piece 
of  the  old  type  knows  that  no  report  could  do  justice  to  the 
real  achievement. 

Needless  to  say,  this  piece  was  woven  when  high  ideals, 
sincere  feeling,  and  sound  artistic  tradition  still  directed 
the  work.  In  sumptuousness  of  color,  only  one  or  two  pieces 
in  the  entire  collection  can  rival  it,  and  no  blue  could  sur¬ 
pass  in  soft  brilliance  this  azure  border.  Not  even  in  im¬ 
agination  could  we  enrich  or  intensify  the  red  of  the  field. 


CAUCASUS 


Yet,  notwithstanding  the  superb  force  of  the  two  main 
colors,  there  is  no  conflict.  In  the  first  place,  despite  the  first 
impression,  only  a  small  area  of  the  intenser  colors  is  really 
exposed,  and  then,  by  various  devices,  those  colors  are  kept 
far  apart,  their  intensity  softened  and  their  relations  medi¬ 
ated.  The  soft  fawn  of  the  outer  and  the  inner  border  and 
the  broad  white  outlines  in  the  field  are  admirable  buffers 
calculated  to  absorb  a  good  deal  of  color  shock.  The  strong 
browns  in  the  field  lend  weight  and  sober  respectability. 
Red  is  carried  into  all  the  borders  by  a  narrow  guard-line, 
while  blue  is  brought  into  the  field  by  means  of  the  blue¬ 
stemmed  flowers  of  the  medallions  and  side  pieces.  There  is 
a  fine  progression  in  the  central  medallion  and  some  inter¬ 
esting  irregularities. 

The  whole  design  reflects  the  geographical  location.  The 
intensity  of  the  color  is  perhaps  a  concession  to  the  neigh¬ 
boring  Kazaks  with  their  raging  hues ;  the  undulating  vine 
on  a  yellow  background  is  a  favorite  Kurdish  and  Mosul 
device,  lifted  almost  intact  (saving  that  it  is  here,  in  true 
Caucasus  fashion,  composed  of  straight  lines  and  angles), 
while  the  medallion  and  the  stiff  lattice  pattern  of  stems  are 
strongly  reminiscent  of  the  famous  Mina  Khani  pattern. 

KARABAGH  (Trans-Caucasus).  Middle  XIX.  Century. 

3'  6"  x  V  10". 

This  sumptuous  rug  bears  out  the  highest  claims  ever  ad¬ 
vanced  for  Karabagh  weaving.  Even  the  Chinese,  those 
masters  of  yellow,  might  envy  the  pure  radiant  gold  of  this 
rug.  Yellow  is  one  of  the  most  expensive  of  all  the  Oriental 
dyes  and  quite  the  most  difficult  to  procure.  Consequently, 
it  was  never  so  very  common,  and  was  about  the  first  color 
to  be  crowded  out  by  the  aniline  invasion.  Since  the  early 
seventies  yellow  has  been  pretty  much  abandoned  or  worked 
in  dingy  tones  of  musty  gray  or  greenish  cast.  In  view  of 
the  manifold  afflictions  modern  Oriental  dyers  have  com¬ 
pounded  under  the  name  of  yellow,  color  of  such  purity 
and  richness  is  particularly  grateful.  Furthermore,  the 
blending  is  as  fine  as  the  colors  themselves.  There  is  just 


RUGS 

T37  \ 

enough  of  the  widely  scattered  deep  blue  to  bring  out  the 
full  glory  of  the  yellow,  while  green  always  affords  a  deli¬ 
cious  contrast  with  gold.  Moreover,  the  main  field  is  so 
broken  and  covered  with  irregular  varicolored  patterns, 
that  any  danger  of  a  cloying  richness,  such  as  might  easily 
result  from  a  free  expanse  of  such  intense  color,  is  thereby 
completely  avoided. 

The  random  distribution  of  small  figures  over  the  entire 
field,  the  eccentric  location  of  the  first  medallion,  the  naive¬ 
ly  drawn  animals,  the  solid  thickness  so  provident  of 
warmth  and  confident,  all  bespeak  nomadic  authorship. 

■  The  other  Karabagh  piece  (No.  552)  was  undoubtedly 
woven  by  townsfolk.  Probably,  as  a  result  of  the  greater 
cosmopolitanism  of  the  towns,  it  exhibits  much  more  Per¬ 
sian  influence,  while  this  piece  holds  firmly  to  plainer,  less  , 
sophisticated  designs  of  the  Caucasus. 

There  are  a  number  of  evidences  that  this  was  neither  a 
copy  nor  a  stereotyped  pattern,  but  a  comparatively  free 
improvisation.  For  instance,  the  green  Maltese  crosses  in 
the  upper  corners  of  the  rug,  copied  possibly  from  some 
Russian  officer’s  decoration,  are  very  much  better  executed 
than  the  first  ones  just  under  the  lower  medallion.  The  first 
rendering  is  clumsy  and  tentative,  evidencing  unfamiliarity 
with  this  particular  emblem ;  the  second  is  expertly  done. 
Such  a  striking  difference  would  hardly  be  possible  if  the 
maker  were  weaving  an  accustomed  figure ;  but  a  good 

:  weaver  would  gain  considerable  facility  from  a  single  ex¬ 
periment. 

KAZAK  (Trans-Caucasus).  Middle  XIX.  Century. 

3'  S"  x  r  2". 

|  This  rug  gives  every  evidence  of  being  an  exceptional 
effort.  The  usual  Kazaks  have  a  long  and  shaggy  pile.  This 
piece  is  trimmed  with  the  closeness  of  the  Kabistan  and 
drawn  with  a  precision  quite  up  to  the  best  Caucasus  stand¬ 
ards.  Such  numerous  and  richly  developed  borders  are 
almost  unprecedented  in  Kazak  weaving.  The  piece  de  re¬ 
sistance  of  this  piece  is,  of  course,  the  comical  human  fig- 

554 

CAUCASUS 


ures,  here  rendered  with  a  naturalism  rarely  to  be  found 
outside  of  Persian  portrait-weaving.  Most  weavers  in  the 
Caucasus  would  of  necessity  have  been  content  with  a  mere 
silhouette,  which  such  a  skilful  weaver  as  this  would  evi¬ 
dently  scorn. 

It  is  true  that  the  orthodox  Mohammedan  is  forbidden  to 
depict  human  figures ;  the  irresponsible  creation  of  soulless 
human  forms  may  involve  embarrassing  obligations  in  the 
Day  of  Judgment.  But  the  Kazak  weavers  fear  neither 
God,  man,  nor  the  law.  Consequently  they  use  without  re¬ 
straint  and  with  profane  abandon  whatever  is  agreeable  or 
interesting. 

How  superior  this  piece  is  may  be  seen  by  comparing  it 
with  the  very  similar  Kazak  illustrated  in  Mr.  Hawley’s 
book.5 

KAZAK  (Trans-Caucasus).  Middle  XIX.  Century. 

V  g,r  x  g'  7". 

This  piece  is  uncommonly  rich  and  quiet  for  a  Kazak.  It  is 
true  that  from  a  distance  the  border  has  a  great  deal  of 
force  and  the  huge  central  medallions  stand  out  with  con¬ 
siderable  weight  and  power.  None  the  less,  the  colors  are 
quiet,  and  the  unusual  intricacy  of  the  pattern  has  rendered 
the  rug  rather  elegant  and  respectable  as  compared  with  the 
majorfty  of  Kazak  pieces.  The  Kazak  tribes  wander  about  a 
good  deal,  and  occasionally  learn  from  their  more  civilized 
neighbors  to  weave  in  quieter,  richer  tones  and  more  com¬ 
plex  design.  Safe  to  say  this  weaver  outdid  the  master. 

The  rug  is  evidently  intended  as  a  prayer-rug.  The  top 
of  the  second  medallion  is  squared,  after  the  fashion  of  the 
Kazak  prayer  mihrab,  and  the  band  of  lighter  blue  that 
crosses  the  spandrel  would  seem  to  convey  the  usual  sug¬ 
gestion  of  sky. 

SHIRVAN  KHILIM  (Caucasus).  Middle  XIX.  Century. 

4 '  9"  x  9^  5". 

This  piece  so  far  excels  the  ordinary  Shirvan  Khilims  in 


6 Facing  page  212. 


RUGS 


beauty  that  the  importers  felt  sure  that  it  must  belong  to  a 
different  type,  and  assigned  it  to  the  Kuba  region,  probably 
because  there  the  greatest  rugs  of  the  Caucasus  were  pro¬ 
duced.  Yet  it  by  no  means  follows  that  because  the  Kuba 
weavers  were  once  supremely  skilful  in  weaving  pile  rugs 
that  they  are  therefore  equally  superior  in  weaving  Khilims. 
While  there  is  nothing  in  either  design  or  weave  that  could 
absolutely  settle  the  question  one  way  or  the  other,  the  prob¬ 
abilities  favor  Shirvan  authorship.  For  practically  all  the 
Caucasus  Khilims  come  from  the  Shirvan  district ;  and  the 
difficulties  in  the  way  of  securing  a  rich  artistic  effect  in  such 
weaves  are  so  considerable  that  it  would  seem  likely  that 
the  greatest  mastery  would  be  found  there,  where  there  were 
the  greatest  practice  and  familiarity.  We  could  argue  noth¬ 
ing  from  finding  a  rug  conspicuously  superior  to  the  aver¬ 
age  of  its  type.  That  is  a  commonplace  in  all  art. 

There  is  a  nobility  in  this  simple  rug  that  raises  it  at 
once  to  the  highest  class.  It  has  much  of  the  directness  and 
force  of  the  very  early  weavings,  yet  a  mellowness  and  sen¬ 
sitiveness  for  color  relations  that  mark  maturity  and  ex¬ 
pertness.  Because  the  Khilims  are  rapidly  woven,  are  gener¬ 
ally  of  modest  pretensions,  and  are  comparatively  inexpen¬ 
sive — all  of  which  is  artistically  irrelevant — many  have 
passed  them  by  slightingly.  Here  is  an  eloquent  refutation 
of  their  blindness. 

SHIRVAN  KHILIM  (Caucasus).  Middle  XIX.  Century. 

4'  2"  x  10'  8". 

Although  this  piece  is  more  characteristic  of  Shirvans  than 
the  preceding,  it  also  may  lay  claim  to  considerable  distinc¬ 
tion,  for  its  colors  are  of  uncommon  depth  and  purity  and 
are  of  a  harmonious  richness  that  suggests  Kurdistan  rather 
than  the  severer  Caucasus. 

Khilims  are  the  commonest  form  of  dowry  rug.  They  rep¬ 
resent  a  maiden’s  utmost  skill  and  care :  hence  their  con¬ 
stantly  surprising  excellence. 

So  fine  is  the  color  and  pattern  in  good  Khilims  that  one 


14° 

CAUCASUS 

558 

of  the  most  noted  teachers  of  design  in  America  not  long  ago 
secured  over  twenty  pieces  for  class-room  demonstration. 

ZILE  SOUMAK  (Caucasus).  Latter  half  XIX.  Century. 

4'  8"  x  6'  1". 

There  are  three  main  styles  of  rug-weaving :  the  pile-knot¬ 
ting,  where  the  pieces  of  yarn  are  tied  around  warp  strands, 
the  clipped  and  compacted  ends  forming  the  surface  of  the 
rug ;  the  khilims,  woven  in  the  tapestry  stitch ;  and  the  Sou- 
maks  (falsely  called  Cashmeres  because  of  their  resem¬ 
blance  to  the  famous  shawls),  also  woven  in  a  flat  stitch, 
but  with  the  loose  ends  of  the  yarn  stringing  out  at  the  back. 

A  fourth  type,  of  which  this  piece  is  an  example,  appears 
but  rarely  in  rug-making.  In  such  cases  the  design  is  worked 
with  a  needle  on  a  web  foundation.  The  flat-stitch  rugs  can 
be  woven  faster  and  easier  than  those  with  a  knotted  pile. 
With  three  or  four  hundred  knots  to  be  tied  into  a  square 
inch  of  a  pile  rug,  or,  as  is  sometimes  the  case,  eight  or  nine 
hundred,  progress  is  necessarily  painful  and  slow.  But  the 
flat-stitch  rugs  have  their  troubles  also.  No  luxurious  depths 
of  pile  comes  to  soften  their  colorings;  rather  the  hard 
smooth  surface  seems  to  make  richness  of  effect  quite  out  of 
the  question.  Yet,  by  using  only  pure  and  rich  colors  and  by 
blending  with  great  caution  and  ingenuity,  and  by  the  use 
of  appropriate  patterns,  the  flat-stitch  weavers  often  secure 
delightfully  soft  and  luxuriant  effects,  at  the  same  time 
preserving  a  crispness  and  delicacy  of  touch  that  give  them 
an  especial  charm. 

With  the  present  rug  a  difficult  problem  is  most  happily 
solved.  To  render  severely  drawn,  repeating  patterns  in  high 
key  on  a  flat  surface,  and  yet  secure  an  effect  of  lightness 
and  richness  as  well  as  strength,  was  an  achievement  that 
everyone  must  admire,  but  which  only  the  Shemaka  weavers 
seem  able  to  accomplish  easily. 

The  patterns  and  technique  seem  to  extend  back  to  the 
time  of  the  ancient  Egyptians.  Perhaps  the  thousands  of 
years  of  practice  that  have  gone  into  the  making  of  such  rugs 
accounts  partly  for  the  quiet  mastery  they  display. 

56J  Samarkand  Palace  Carpet 

in  Silk  on  Two-Color  Gold  Ground 


RUGS 


D. 

TURKOMAN  RUGS 


YOMUD  (Turkoman).  Middle  XIX.  Century. 

5'7"x9'9". 

No  piece  in  the  entire  collection  exceeds  the  magnificent 
verve  of  this  Turkoman  carpet.  There  is  no  need  to  explain 
that  this  piece  was  woven  by  a  fierce  and  warlike  people. 
But,  with  all  the  splendid  energy  it  exhibits,  it  is  abundant¬ 
ly  beautiful.  The  deeply  incised  starlike  lozenges  are  as 
lovely  as  snow  crystals,  and  their  sharp  brilliance  power¬ 
fully  engages  the  attention.  Not  only  are  the  specific  colors, 
particularly  the  deep  plum  of  the  field  and  the  brilliant 
little  patches  of  blue  in  some  of  the  medallions,  very  lovely, 
but  the  combination  is  itself  rich  and  noble.  Frequently  the 
central  design  of  these  pieces  is  overwhelmed  by  the  weight 
of  the  end  designs,  but  in  this  case  they  are  sufficiently  sub¬ 
ordinate  to  allow  the  main  pattern  to  have  unchallenged 
sway. 

The  design  in  these  Turkoman  rugs  is  probably  the  oldest 
in  existence.  It  has  had,  according  to  Bogolubow,  a  con¬ 
tinuous  history  of  six  thousand  years.  Perhaps  this  accounts 
partly  for  the  perfect  confidence,  the  precision,  and  the  easy 
mastery  which  the  whole  design  exhibits ;  but  as  many  Yo- 
muds  seem  by  comparison  somewhat  clumsy  and  incoherent, 
we  must  not  withhold  honor  from  some  forceful  personality 
who  infused  the  common  design,  which  all  might  attempt, 
with  a  power  and  beauty  that  few  could  attain. 

BESHIR  (Turkoman).  Middle  XIX.  Century, 
s'  7"  x  i  r  o". 

The  most  stereotyped  rugs  that  come  out  of  the  Orient  are 
woven  by  the  Turkomans.  For  thousands  of  years,  accord¬ 
ing  to  Bogolubow,  these  tribes  have  been  weaving  the  same 
patterns.  Centuries  ago  each  group  fixed  upon  some  form  of 
the  tile  or  octagon  pattern  as  its  own  proper  emblem,  much 
after  the  fashion  of  the  Scotch  clan  and  its  plaid.  To  hold 


142 

TURKOMAN 

\ 

561 

faithfully  to  this  distinctive  pattern  was  apparently  a  matter 
of  tribal  loyalty.  Hence  only  very  slight  variations  have  ap¬ 
peared  in  these  weavings. 

But  one  group  of  Turkomans,  the  Beshirs,  own  to  a  more 
flexible  and  acquisitive  genius.  Perhaps  because  nearer  to 
Persia  and  more  in  the  common  line  of  travel,  their  rugs  and 
carpets  have  far  greater  richness  and  variety.  Always  pre¬ 
dominantly  Turkoman  in  feeling,  always  true  to  the  Turko¬ 
man  theory  of  color,  with  its  sinister  suggestion,  they  none 
the  less  borrow  from  east  and  west.  Sometimes  we  find 
Persian-looking  vines,  or,  as  in  the  present  case,  the  pome¬ 
granate  flower  common  in  Samarkands.  Sometimes  we  have 
the  reciprocal  trefoil,  found  all  the  way  from  Daghestan  to 
Kashgar,  but  never  in  the  other  so-called  Bokhara  weavings. 

This  rug  was  woven  by  some  genius  who  burst  the  rather 
loose  conventional  bonds  of  Beshir  weaving,  as  far  exceed¬ 
ing  in  variety  and  richness  the  average  Beshir  as  they  in 
turn  exceed  in  this  respect  the  other  Turkoman  rugs.  Here  is 
indeed  the  Turkoman  fondness  for  red,  here  is  all  their 
strong  determination,  marked  out  in  emphatic  and  unyield¬ 
ing  geometrical  forms ;  yet  here,  also,  is  a  Persian  wealth  of 
flower-like  decoration  and,  what  is  more,  a  Kurdish  luxury 
of  shading,  a  scandalous  innovation  in  Turkestan,  where 
evenness  of  color  seems  to  be  a  prime  requisite,  and  only  the 
most  delicate  nuances  are  permitted. 

Whatever  conservative  contemporaries  may  have  thought 
of  this  anarchist  and  experimenter,  we  ought  to  be  grateful 
for  this  admirable  synthesis  of  energy  and  decision  with 
luxury  and  delicate  decorative  charm.  To  combine  in  a  con¬ 
sistent  whole  something  of  Persian  richness  and  a  good  deal 
of  Afghan  power  with  the  lucidity  and  definition  of  the 
Caucasus  was  an  achievement  as  excellent  as  it  is  rare  and 
difficult. 

TEKKE  (so-called  ROYAL  BOKHARA)  (Turkoman). 
Middle  XIX.  Century.  3'  6"  x  5'  3". 

Although  the  name  “Royal”  seems  justified  by  the  sumpt¬ 
uous  colors,  perfect  drawing,  and  fine  weaving  of  these 

RUGS 


famous  rugs,  it  is  a  name  unknown  in  the  Orient,  where 
they  are  simply  called  Tekke,  from  the  name  of  the  tribes 
that  weave  them. 

These  pieces  are  perhaps  the  most  familiar  of  all  Oriental 
rugs.  Although  now  good  pieces  are  rare  and  expensive, 
they  were  early  imported  in  considerable  numbers,  and 
were  immediately  popular.  The  colors  are  so  agreeable  and 
so  adaptable  to  the  ubiquitous  mahogany  of  American 
homes,  the  patterns  so  easy  to  comprehend  and  remember, 
that  from  the  first  everyone  knew  “Bokharas,”  little  sus¬ 
pecting  that  there  were  a  number  of  quite  different  rugs 
from  the  same  region  equally  entitled  to  the  name. 

Because  of  this  popularity,  and  because  the  color  and  de¬ 
sign  seemed  so  simple  and  set,  manufacturers  felt  they  had 
an  easy  and  profitable  task  to  turn  these  pieces  out  by  ma¬ 
chinery.  But  no  Western  travesties  on  Eastern  rugs,  were 
more  melancholy.  The  essential  glory  of  these  pieces  is  not 
indicated  by  any  mere  word  red,  and  their  lifelike  lustre, 
which  often  challenges  the  richest  velvet,  will  never  be  de¬ 
livered  by  machines. 


TEKKE  PRAYER-RUG  (Turkoman).  Middle  XIX. 
Century.  4'  2"  x  s'  4". 

Although  these  rugs  are  quite  common,  and  although  they 
follow  a  common  design  more  closely  than  any  other  rug 
in  the  Orient,  none  the  less  they  are  not  all  alike,  and  a 
piece  of  such  high  quality  as  this  speaks  forth  with  distinc¬ 
tion. 

For  purity  and  softness  of  color,  for  decorative  richness, 
for  quiet  though  strong  contrast,  for  fine  and  even  weaving, 
this  piece  could  only  rarely  be  equaled  in  its  class.  The  de¬ 
sign,  called  Katchli  (the  Armenian  word  for  cross),  has 
been  variously  interpreted.  Some  say  it  indicates  the  layout 
of  a  mosque  with  its  cross  aisles  and  benches  ;  others  see  here 
rows  of  candlesticks  such  as  are  to  be  found  in  some  mosques. 
Whatever  the  meaning,  there  can  be  no  dispute  over  the  rich 
and  quiet  beauty  of  the  piece. 


*44 


TURKOMAN 


563 


564 


The  blue  cord  overcasting  is  one  of  the  easiest  identifica¬ 
tion  marks  of  Tekke  weave. 


TEKKE  SADDLE-BAG  (Turkoman).  Middle  XIX. 
Century,  r  ?"  x  3'  7". 

This  rich  little  mat  is  the  outside  covering  of  a  saddle-bag. 
The  Turkomans  are  good  horsemen,  and  take  as  much  pride 
in  their  trappings  as  any  Mexican.  It  seems  incredible  that 
such  fine  artistic  feeling  and  such  exquisite  workmanship 
could  come  from  these  “man-stealing  Turkomans,”  the  wild 
men  of  Asia.  Toward  these  incorrigible  heathen  many 
Americans  could  feel  little  besides  mingled  curiosity  and 
disdain.  Yet  this  saddle-bag  compares  favorably  in  ap¬ 
pearance  with  the  average  American  suit-case,  and  would 
even  look  well  beside  the  gaudy  carpet-bags  which  our  civil¬ 
ized  forefathers  devised  and  cherished. 

These  little  pieces  sometimes  attain  an  exceeding  fineness 
of  weaving,  three  hundred  and  fifty  knots  to  the  square  inch 
being  not  at  all  uncommon. 

Ten  years  ago  the  department  stores  in  Boston  were  sell¬ 
ing  these  wonderful  mats  at  five  dollars  apiece,  an  excep¬ 
tional  one  occasionally  bringing  as  high  as  six  or  even  six- 
fifty.  Now  over  a  hundred  dollars  is  commonly  charged,  and 
at  that  good  pieces  are  hard  enough  to  find. 


TURKOMAN.  Early  XIX.  Century.  6'  y  x  r  i0". 

This  forceful,  almost  primitive-looking  carpet  is  a  sort  of 
rugged  country  cousin  to  the  more  sleek  Tekkes  known  as 
Royal  Bokharas.  It  was  woven  by  some  one  of  the  fifty-odd 
Turkoman  tribes—which  one,  only  Bogolubow  could  tell. 
While  it  resembles  several  of  the  types  commonly  known  in 
America,  it  cannot  be  positively  identified  with  any  one  of 
them.  The  border  and  the  shape  of  the  octagons  suggest 
Yomud,  the  weight  of  the  rug  Afghan  or  Khiva,  while  the 
weave  is  most  like  the  Tekkes.  But,  as  there  are  quite  a  num¬ 
ber  of  subdivisions  of  the  Tekkes  and  each  has  its  special 
version  of  the  common  pattern,  this  piece  may  have  come 
from  a  Tekke  clan  that  is  either  very  small  or  is  now  ex- 


RUGS 

145 

tinct,  for  such  rugs  are  quite  rare.  There  is  a  piece  in  the 
South  Kensington  almost  exactly  like  this. 

There  is  scarcely  a  wilder,  more  cruel  people  in  the  world 
than  the  Turkomans  that  wove  this  rug.  Indeed,  as  Mr. 
Mumford  has  suggested,  the  sullen  reds  which  they  all 
affect  smack  villainously  of  blood.  Nothing  is  surer  than 
that  blood  has  always  been  a  common  and  not  unpleasant 
sight  to  these  people,  and  it  is  no  far  flight  of  fancy  to  sup¬ 
pose  that  there  was  an  especial  relish  and  excitement  in  these 
tones  that  long  ago  determined  its  wide  acceptance  through¬ 
out  this  region. 

Despite  this  grim  suggestion,  nearly  all  the  antique 
Turkoman  weavings  have  a  firmness  of  drawing,  a  fineness 
of  knotting,  a  velvety  softness  and  lustre  of  wool,  that  ranks 
them,  in  these  respects  at  least,  high  among  all  the  rugs  of 
Asia.  Even  in  the  desolate  wind-swept  steppes  of  Turkestan, 
among  a  people  wilder  than  their  environment,  beauty  and 
elegance  have  received  their  due. 

BELUCHISTAN  SADDLE-BAGS  (Turkoman).  Middle 
XIX.  Century.  i'  7^"  x  r  9 r  7 Vi"  x  v  io". 

It  is  no  wonder  that  Beluchistans  were  from  the  first  favor¬ 
ites  with  the  American  public.  No  rug  woven  surpasses 
good  antique  Beluchistans  in  lustre  and  depth  of  color  and 
perfect  fusion  of  all  tones.  True,  their  weaves  have  a  much 
simpler  problem  of  color  adjustment  than  the  more  daring 
Asia  Minor  colorists  set  themselves,  and  sometimes  we  do 
get  a  bit  weary  of  the  lack  of  clearly  thought-out  pattern ; 
but  for  sheer  gratification  of  the  lust  of  the  eye,  without  tax 
upon  thought  or  imagination,  a  good  Beluchistan  is  to  be 
commended  beyond  all  others. 

565 

- 


146 

CHINESE 

566 

E. 

CHINESE  RUGS 

The  principal  dynasties  from  which  rugs  are  named  are — 

Ming . 1368-1644 

K’ang  Hsi . 1644-1722 

Yung  Cheng . 1722-1736 

Kien  Lung . 1736-1795 

SAMARKAND  ( Chinese) .  XIX.  Century.  6'  4"  x  12'  2". 
Samarkand  was  an  ancient  and  glorious  capital.  For  cen¬ 
turies  it  was  the  dominating  city  of  Central  Asia.  Magnifi¬ 
cently  situated  on  a  plateau,  close  under  mountains  tower¬ 
ing  over  twenty  thousand  feet,  favored  by  nature  with 
abundant  water,  fine  vistas,  and  delightful  climate,  advan¬ 
tageously  located  for  either  military  or  commercial  con¬ 
quests,  it  naturally  became  one  of  the  great  cities  of  Asia. 
Here  the  great  Mogul  emperors  took  their  abode.  From  here 
Tamerlane  the  Great,  before  whom  all  Asia  shuddered, 
ruled  his  vast  kingdom  and  many  a  pleasure  dome  decreed. 
Here  was  gathered  the  best  in  religion,  art,  and  learning 
that  Moguls  could  produce  themselves  or  summon  from 
abroad.  Famous  artisans  were  brought  even  from  as  far  as 
Europe,  although  the  great  majority  of  them  were  from 
China,  which  then  enjoyed  almost  unchallenged  supremacy 
in  the  fine  arts.  The  city  was  resplendent  with  hundreds  of 
mosques,  some  of  them  of  dazzling  magnificence.  There 
were  eighty-five  colleges,  and  many  other  marks  of  wealth 
and  importance. 

This  carpet  is  a  fitting,  though  belated,  expression  of  that 
imperial  power.  Although  Samarkand  is  in  Central  Turke¬ 
stan,  less  than  one  hundred  and  fifty  miles  from  the  city  of 
Bokhara,  and  although  always  in  close  contact  with  the 
Persian  city  of  Herat,  the  rug  is  none  the  less  almost  purely 
Chinese.  The  Moguls  had  nothing  in  common  with  the 
Afghans  and  borrowed  but  little  from  Persia.  They  im- 

RUGS 


ported  their  weavers  and  designs  alike  almost  entirely  from 
China.  Only  there  is  added  to  the  ordinary  Chinese  sobriety 
and  aristocratic  elegance  a  barbaric  power  and  splendor  that 
became  the  IVIogul  character.  Something  of  their  flaming  im¬ 
petuosity  still  glows  in  this  carpet,  and  the  quiet  and  sober 
figures  of  Chinese  design  here  shine  with  unaccustomed 
splendor  and  intensity.  No  such  blue  as  this  appears  in 
Chinese  rugs,  and  the  especial  fame  of  the  blue  skies  of 
Samarkand  seems  herein  witnessed  and  established,  while 
the  yellow  gleams  like  poured-out  gold. 

The  strange-looking  border  is  a  conventionalized  render- 
ing  of  the  Chinese  pattern  of  the  sacred  mountain  rising 
from  the  waves. 

Samarkand  rugs  were  never  abundant,  and  the  few  an¬ 
tique  pieces  that  appeared  in  America  were  immediately 
secured.  Their  popularity  led  to  considerable  development 
of  commercial  rug-weaving  in  this  region,  and  from  the 
present  somewhat  shabby  and  dilapidated  site  there  is  an 
immense  output  of  rugs,  unfortunately  of  correspondingly 
inferior  quality.  The  wool  is  thin  and  weak,  and  the  colors 
frequently  are  so  raw  that  the  desperate  “washing”  neces¬ 
sary  occasionally  almost  consumes  the  pile. 

Although  we  have  no  carpets,  nor  even  fragments,  from 
the  Samarkand  of  Tamerlane’s  time,  this  particular  piece 
was  woven  long  before  the  era  of  commercialism,  and  is  the 
eloquent  memorial  of  a  unique  and  imposing  culture. 

CARPET  IN  SILK  ON  TWO-COLOR  GOLD 
GROUND.  Probably  Khotan  (Chinese).  Late  XVIII.  or 
Early  XIX.  Century.  r  6„  x  13,  v, 

Although  at  first  sight  this  carpet  looks  very  Persian,  closer 
inspection  shows  its  design  and  construction  to  be  chiefly  of 
Chinese  derivation.  Round  blossoms  in  dark  red  and  blue 
disposed  on  stiff  stems  running  the  entire  length  of  the  car¬ 
pet  are  quite  characteristic  of  Samarkand  and  Kashgar 
rugs.  The  blue  boundary-lines  that  divide  the  main  field 
into  compartments  are  decorated  with  little  scrolls,  a  com- 


148 

CHINESE 

mon  feature  of  Chinese  design  at  all  times,  while  the  thick 
white-cotton  warp  points  in  the  direction  of  China. 

Yet  the  Persian  influence  must  not  be  denied.  Not  only- 
are  the  lancet  leaves  and  the  wide  floral  borders  reminis¬ 
cent  of  the  great  Persian  carpets,  but  the  scheme  of  weaving 
rugs  of  silk  and  metal  thread  was  also  of  Persian  origin, 
and  in  the  Polonaise  rugs  was  carried  to  such  a  pitch  of 
magnificence  that  their  fame  spread  throughout  the  world. 
Employed  only  as  presents  to  foreign  monarchs,  they  prob¬ 
ably  became  the  object  of  envy  and  admiration  wherever 
known.  This  carpet  is  very  likely  the  sincerest  tribute  of 
admiration  the  weavers  of  this  region  could  pay  to  their 
illustrious  fellow  workmen  at  the  Persian  court,  who  gener¬ 
ations  before  had  brought  honor  to  the  whole  profession. 

Although  the  weavers  of  Samarkand,  even  if  they  tried, 
could  not  compass  the  intricate  and  graceful  profusion  of 
the  Polonaise  pieces,  they  did  secure  a  Persian  effect  by 
omitting  all  their  customary  geometrical  devices  of  keys, 
frets,  and  large  round  medallions,  so  unmistakably  Chinese. 

The  carpet  has  some  interest  for  the  history  of  design. 
The  field  divisions  are  almost  exactly  the  same  shape  as 
those  to  be  found  in  the  archaic  carpets  of  Northwestern 
Persia,  which  Martin  ascribes  to  the  middle  of  the  Mon¬ 
golian  Period  ( 1258- 1369). 1  It  is  in  this  exact  form  a  rather 
uncommon  device,  and  its  presence  in  a  Mongolian  carpet 
in  a  region  where  design  changes  very  slowly,  and  where 
not  much  is  borrowed,  would  suggest  that  it  was  a  pecu¬ 
liarly  Mongolian  device  of  sufficient  antiquity  to  have  been 
the  source  of  the  field  divisions  in  the  early  Persian  pieces. 

At  any  rate,  this  consideration  would  tend  to  support  Mar¬ 
tin’s  attribution,  which  has  been  challenged  of  late. 

But  apart  from  all  dreary  questions  of  attributions  and 
influences,  it  is  the  sheer  beauty  of  this  piece  that  constitutes 
its  chief  value.  It  presents,  like  all  great  rugs,  a  paradoxical 
group  of  qualities :  it  is  rich  and  sumptuous,  yet  also  simple 
and  severe ;  it  is  quiet,  yet  at  the  same  time  it  exhibits  a 

1No.  501  in  this  collection  is  a  border  fragment  of  one  of  these  rugs. 

Blue  and  IV kite  Porcelain  Screen  ( China) 

Cliing  Lung  Dynasty 


Louis  X  V.  Sleigh  ( France ) 


RUGS 

H9 

good  deal  of  force ;  while  over  all  is  a  noble  reserve,  that 
serene  and  lofty  calm,  which  is  one  of  the  finest  products  of 
Chinese  genius. 

Mr.  Martin  says  :  “According  to  the  statements  of  several 
diplomats  who  have  been  in  Pekin,  such  carpets  with  gold 
ground  are  considered  to  have  been  made  exclusively  for  the 
Imperial  Palace.”2  Whether  this  is  anything  more  than  lega¬ 
tion  gossip  does  not  appear ;  but  the  regal  appearance  of 
these  carpets  and  their  striking  difference  from  the  other 
weavings  from  this  district  make  the  suggestion  seem  high¬ 
ly  probable. 

CHINESE  (Early  K’ang  Hsi).3  z'r'xro". 

This  piece  is  not  only  the  best  of  the  Chinese  rugs ;  it  is  also 
one  of  the  best  pieces  in  the  whole  collection.  It  is  in  every 
way  thoroughly  characteristic  of  Chinese  art,  particularly  in 
so  far  as  that  art  is  different  from  Western  art  and  even 
Western  Asiatic  art. 

Contrast  this  rug  with  the  best  of  the  Persian  and  Turkish 
pieces  to  discover  seme  of  the  essential  qualities  of  Chinese 
art.  It  has  none  of  the  thin  emotional  intensity  of  the  finer 
Asia  Minor  prayer-rugs,  amounting  sometimes  almost  to  ec¬ 
stasy  ;  it  is  quite  lacking  in  the  ponderous  power  of  the  big 
Oushak  piece ;  it  has  none  of  the  austerity  of  the  Daghestan 
weavings,  nor  the  luxurious  depths  of  the  Souj-Bulak  piece, 
while  by  comparison  the  Persian  carpets  of  even  the  great 
era  seem  intricate  and  intense. 

Here  all  is  mild  and  gentle.  The  quiet,  thoughtful  colors 
suggest  the  life  of  reflection.  A  mellow  and  serene  happiness 
seems  to  suffuse  the  entire  piece.  Color  and  design  alike  be¬ 
speak  the  lucid,  well-ordered  mind,  resting  comfortably  upon 
established  order,  sustained  by  tradition  and  mature  experi¬ 
ence.  But  this  mildness  has  no  part  in  weakness.  Although 
the  design  is  simple  in  the  extreme  and  the  colors  plain  and 
frugal,  the  rug  is  charged  with  vitality  and  interest.  It  is 

568 

2Martin,  p.  104. 

*This  piece  is  reproduced  in  color  in  Hawley’s  Oriental  Rugs,  facing  p.  270. 

150 

CHINESE 

■  569 

animated  by  strong  contrast  and  rendered  in  a  free  and  vital 
way.  The  pattern  seems  carelessly  thrown  upon  the  ground 
and  bright  blue  spots  enliven  the  otherwise  sober  design, 
while  the  strongly  defined  border,  with  its  heavily  marked 
rhythms  both  in  color  and  form,  contests  vigorously  yet  har¬ 
moniously  with  the  more  freely  rendered  centre.  And  all 
these  elements  are  held  in  thoughtful  balance. 

The  rich  brown  colors,  quite  like  those  in  most  of  the  ear¬ 
lier  Ming  rugs,  remind  one  of  early  Chinese  paintings,  thus 
indirectly  contributing  charm.  But  it  is  not  merely  these 
tones,  suggesting  other  happy  arts,  that  supply  the  charm 
of  this  piece;  it  is  the  tranquillity,  derived  from  the  lucid 
simplicity  of  all  elements  and  their  fusion  into  perfect  equi¬ 
librium. 

Such  a  piece  immediately  commands  and  never  releases 
our  affections. 

The  emblems  bear  out  and  reinforce  the  general  spirit. 

To  the  Chinese  they  speak  of  every  blessing.  The  kindly 
Ky-lin  in  the  centre  is  bringing  that  best  of  good  fortune, 
a  beautiful  child ;  the  two  little  fish  mean  abundance,  the 
peonies  prosperity,  the  jar  with  flowers  bespeaks  peace  and 
happiness,  while  about  the  center  are  grouped  the  four  em¬ 
blems  of  the  honored  and  happy  life  of  the  scholar.  It  is  not 
too  much  to  suppose  that  the  rug  was  woven  to  celebrate  the 
birth  of  some  child  of  noble  family,  and  that  the  emblems 
express  the  donor’s  hopes  and  wishes  for  the  coming  life. 
CHINESE  SILK  RUG  (Late  K’ang  Hsi).  z'i"Xy$". 
Although  the  color  of  this  ancient  rug  is  badly  soiled  and 
faded,  yet  there  is  genius  in  the  design  that  is  immortal 
through  all  vicissitudes.  The  pattern  is  brilliantly  and  grace¬ 
fully  drawn,  attracting  the  attention  and  enticing  the  imagi¬ 
nation.  For  all  the  apparent  simplicity,  there  is  far  more  in 
the  design  than  first  appears.  These  simply  arranged  foliage 
forms  that  surround  this  central  peony  are  so  distributed 
that  they  suggest,  without  actually  forming,  a  cloudlike  sec¬ 
ondary  circle.  The  suggested  circular  band  is  dim  and  vague, 
and  rather  ample  in  mass,  while  the  component  figures  that 

6n  German  Wr  ought-iron  Grave  Post  612  German  W rought-Iron  Crucifix 

Early  XVII.  Century  Late  XI II.  or  Early  Xl  'III.  Century 


Sedan  Chair.  Louis  XV .  632  Spinnet 


RUGS 

I5I 

indicate  it  are  drawn  with  excited  crispness.  Thus  what 
might  appear  to  be  an  oversimple  design  permanently  charms 
by  a  subtle  and  concealed  variety. 

Chinese  rug  designs  are  very  commonly  taken  from  por¬ 
celains,  and  when  thus  borrowed  often  lose  in  artistic  vital¬ 
ity  and  appropriateness.  Porcelain  demands  a  rather  differ¬ 
ent  treatment  from  a  flat  textile,  and  transpositions  are  like¬ 
ly  to  have  no  more  and  perhaps  no  less  success  than  our 
common  transferences  of  instrumental  music.  Although  this 
design  is  surely  taken  from  pottery,  and  though  it  would  be 
perhaps  more  satisfactory  were  the  border  more  richly  and 
independently  developed,  the  piece  is  none  the  less  success¬ 
ful  and  the  design  well  adapted  to  the  material  in  which  it 
is  rendered. 

It  will  at  first  seem  to  many  quite  un-Chinese  in  character, 
and  it  is  true  that  the  Persian  influence,  which  was  increas¬ 
ingly  strong  during  the  late  K’ang  Hsi  period,  is  here  quite 
apparent.  A  continuous  vine-and-foliage  pattern  surround¬ 
ing  large  peony  blossoms  is  very  Persian  in  feeling,  but  no 
true  Persian  would  have  been  content  with  two  colors,  no 
border  at  all,  or  such  conventional  foliage.  Such  restraint 
and  simplicity  is  the  sure  mark  of  Chinese  taste.  However 
much  the  Chinese  designers  may  have  appropriated,  they 
borrowed  only  to  transform.  The  imported  pattern  is 
promptly  reduced  to  a  mere  hint,  and  the  genius  of  Cathay 
holds  undiverted. 

While  the  importers  of  this  piece  attributed  it  to  the  Ming 
period,  arguing  no  doubt  from  the  simplicity  of  the  color 
and  the  absence  of  all  border  decoration,  it  is  rather  too 
pretty  for  Ming  work.  In  Bushell’s  catalogue  of  the  Chinese 
Porcelains  in  the  South  Kensington,  which  speaks  with  con¬ 
siderable  authority,  we  find  illustrated  a  jar  with  precisely 
the  same  pattern  as  in  this  rug,  attributed  to  K’ang  Hsi.4 

CHINESE  (Kien  Lung )  s'&"x%'2". 

This  piece  is  quite  characteristic  of  the  gay  Kien  Lung 

57° 

*See  supplementary  plate  No.  xxx. 

T52 

CHINESE 

57i 

spirit.  Yet  while  gay  it  is  hardly  a  random  or  rollicking 
gayety,  but  quite  sober  and  artistocratic.  For  all  the  happi¬ 
ness  and  even  splendor  that  shines  forth  from  this  rug,  it  is 
still  a  “lordly  delight  and  a  stately  repose,”  becoming  to 
the  sage,  and  appropriate  to  ancient  tradition. 

While  the  rug  appears  quite  fresh,  it  is  surely  an  old 
piece.  The  overtone  of  red  has  been  burned  through  and 
dimmed  by  long  exposure,  until  we  see  quite  clearly  the 
fundamental  color  upon  which  the  red  is  superimposed.  It 
is  one  of  the  secrets  of  many  of  the  most  glowing  colors  that 
they  are  compounded  not  wholly  in  the  dye-pot  but  on  the 
wool  itself.  Just  as  the  great  Renaissance  colorists  some¬ 
times  painted  their  flesh  tones  over  a  solid  crimson,  so  the 
Chinese  secure  a  peculiarly  warm  and  mellow  apricot  color 
by  dyeing  the  wool  first  a  soft  gold,  which  gleams  through 
the  heavier  superposed  red  tones,  giving  them  sometimes 
the  gentle  radiance  that  is  one  of  the  chief  charms  of  Chi¬ 
nese  color.  The  mysterious  brilliance  that  in  some  lights 
shines  from  the  golden  medallion  of  the  larger  Yung  Cheng 
piece  is  due  to  this  potent  alliance  of  the  dyer’s  skill  and 
mellowing  time. 

CHINESE  (Probably  Yung  Cheng).  2'io"x6'3". 

The  Yung  Cheng  period  is  generally  credited  with  invent¬ 
ing  the  device  of  clipping  the  field  around  a  pattern  in  such 
a  way  as  to  leave  the  pattern  in  high  relief.  This  beautiful 
and  effective  scheme  seems  to  have  been  suggested  by  con¬ 
temporary  enamel-work.  In  this  very  lovely  piece  the  plan  is 
reversed :  By  the  use  of  strong  corrosive  dyes  the  main  pat¬ 
tern  has  been  depressed  below  the  surrounding  area.  But  the 
appearance  is  much  the  same.  When  done  skilfully,  as  in  the 
present  instance,  it  adds  greatly  to  the  force  and  beauty  of 
the  whole  piece. 

Although  the  rug  is  rather  small,  it  has  the  dignity  and 
the  spaciousness  of  a  nobly  designed  carpet,  and  this  rather 
lofty  reserve  is  not  often  attained  in  pieces  many  times  its 
size ;  and  although  the  colors  are  few  and  simple,  not  many 
rugs  large  or  small  could  compete  with  it  in  solid  richness. 

RUGS 

153 

Again  we  see  how  well  the  Chinese  knew  how  to  secure  pro¬ 
foundly  moving  effects  with  the  simplest  means. 

CHINESE  (Yung  Cheng).  2'0"x4'i". 

572 

CHINESE  ( Yung  Cheng  or  Early  Kien  Lung). 

V  2"  x  3'  10". 

Both  of  these  beautiful  little  rugs  are  closely  related  to  the 
preceding.  They  have  the  same  aristocratic  bearing,  the 
same  restrained  richness ;  and  withal  that  same  air  of  final¬ 
ity  that  characterizes  most  of  Chinese  art,  and  marks,  in 
some  fields  of  design,  their  incontestable  supremacy. 

573 

CHINESE  (Late  K’ang  H si  or  Yung  Cheng).  2'o"x3'io". 
This  inky  little  piece  shows  what  noble  effects  can  be 
accomplished,  even  in  monochrome,  if  the  color  be  suffi¬ 
ciently  splendid  and  the  wool  rich  and  soft.  But  in  any  other 
color  or  any  variety  of  colors  this  pattern  alone  would  speak 
with  distinction.  While  it  may  seem  monotonous,  the  con¬ 
cealed  contrast  gives  force  and  substance  to  the  whole  de¬ 
sign.  The  richly  shaded  foliage,  of  rather  uncommon  luxu¬ 
riance,  is  balanced  by  the  Greek  severity  of  the  border,  which 
is  in  turn  relieved  by  the  round  medallions  and  the  crisp  ele¬ 
gance  of  the  inner  stripe,  the  combination  imparting  to  the 
whole  rug  a  rather  surprising  strength  of  character. 

The  velvety  softness  of  the  rug  is  due  to  the  use  of  breast 
wool. 

574 

CHINESE  (Kien  Lung).  3'8"x4'ii" 

This  ancient  design — composed  principally  of  “tiger 
marks,” — is  supposedly  to  be  emblematic  of  royal  power. 

575 

CHINESE  (Early  Kien  Lung).  2'2"x4'  2". 

This  brisk  little  rug  might  well  have  been  made  for  a  birth¬ 
day  presentation,  as  it  contains  the  three  common  symbols 
for  longevity — the  deer,  the  stork,  and  the  pine  tree.  The 
fresh  and  bright  colors  are  in  keeping  with  the  cheerful 
sentiment. 

576 

CHINESE  (Kien  Lung).  4'o"x6'3". 

577 

154 

RUGS 

SUPPLEMENTARY  PLATES 

i 

LATE  XV.  CENTURY  PERSIAN  CARPET. 

ii 

FRAGMENTS  OF  ANIMAL  CARPETS  (Probably 
North  Persian).  Early  half  XVI.  Century. 

in 

ANIMAL  CARPET  (Persian).  XVI.  Century. 

!  IV 

ANIMAL  CARPET  (Persian).  XVI.  Century. 

V 

ANIMAL  CARPET  (Persian).  XVI.  Century. 

VI 

PERSIAN  CARPET.  XVI.  Century. 

VII 

POLISH  CARPET.  XVI.  Century. 

VIII 

OLD  PERSIAN  CARPET  (with  Silver  Ornamentation). 

IX 

PERSIAN  CARPET.  XVI.  Century. 

X 

PERSIAN  CARPET.  XVI.  Century. 

XI 

FERAGHAN  (Persian). 

XII 

FERAGHAN  (Persian). 

XIII 

SARABAND  (Persian). 

s  xiv 

FIAMADAN  (Persian). 

XV 

FIAMADAN  (Persian). 

!  xvi 

HAM  AD  AN  (Persian). 

!  xvn 

FIAMADAN  (Persian). 

XVIII 

OLD  RUG  (Kurdistan). 

XIX 

MOSUL  (Persian). 

XX 

GHIORDES  PRAYER-RUG  (Asia  Minor). 

XXI 

GHIORDES  PRAYER-RUG. 

XXII 

BERGAMO  ( Asia  Minor). 

XXIII 

KUBA  (Caucasus). 

XXIV 

BAKU  (Caucasus). 

623 


Renaissance  Cabinet  ( Italy ) 


Spanish  Cabinet  and,  Secretaire  62J  Spanish  Cabinet  and  Secretaire 

Gothic  style 


RUGS 


ROUND  CHINESE  RUG. 

OLD  CHINESE  RUG. 

K’ANG  HSI  (Chinese). 
SAMARKAND  (Chinese). 

VERY  EARLY  CHINESE  RUG. 

K’ANG  HSI  PORCELAIN.  (In 
Museum.) 


155 


the  South  Kensington 


XXV 

XXVI 

XXVII 
XXVIII 

XXIX 

XXX 


Louis  XVI.  Piano 


.  1 


Early  Chickenng  Piano  ( Empire  Style ) 


V 

FURNITURE  AND 
OBIETS  DART 


FURNITURE  AND  OBJETS  D’ART 

1 59 

Ancient  Korean  Dower  Chest. 

601 

Benares  Metal  Vase ;  ornamented  with  chased  geometrical 

602 

designs. 

Benares  Metal  Vase ;  ornamented  with  chased  geometrical 

603 

designs. 

Blue  and  White  Porcelain  Screen  (Willow  Pattern)  (Chi- 

604  1 

na).  Ching  Lung  Dynasty. 

Brass  Bowl  (India). 

605  ; 

Chased  ornamentations  representing  mythological  scenes. 

Brass  Sconse  (Holland) . 

606 

Brass  Sconse  (Holland). 

607  ; 

Delft  Blue  and  White  Jar  (Probably  Persian). 

608  ; 

Delft  Blue  and  White  Jar  (Probably  Persian). 

609  i 

Louis  XV.  Sleigh.  (France). 

6lO 

Painted  panel  decorations  in  the  style  of  Boucher. 

German  Wrought  Iron  Grave  Post.  Early  XVII.  Century. 

6l  I 

German  Wrought  Iron  Crucifix.  Late  XVII.  or  Early 

6l2 

XVIII.  Century. 

German  Dower  Chest.  XVIII.  Century. 

613 

Dated  1740. 

Italian  Cassone.  Early  XVIII.  Century. 

614 

Japanese  Lacquer  Door.  XIX.  Century. 

615 

Japanese  Lacquer  Door.  XIX.  Century. 

6l6 

Japanese  Screen.  Tokugawa  Dynasty. 

617 

Majolica  Jar  (Spain). 

6l8 

Sedan  Chair  (Japan).  XIX.  Century. 

619 

Sedan  Chair.  Louis  XV. 

620 

Sedan  Chair.  Loufs  XVI. 

621 

Flemish  Sideboard,  Renaissance  Style. 

622 

i6o 

FURNITURE  AND  OBJETS  D’ART 

623 

Renaissance  Cabinet  (Italy).  Early  XVII.  Century. 

624 

Spanish  Ecclesiastical  Chair.  XVII.  Century  style. 

From  Emperor  Maximilian’s  Palace  in  Mexico. 

625 

Spanish  Ecclesiastical  Chair.  XVII.  Century  style. 

From  Emperor  Maximilian’s  Palace  in  Mexico. 

626 

Spanish  Cabinet  and  Secretaire. 

Composed  of  two  parts ;  the  lower  part,  or  chest  of  drawers,  serves  as  a 
base  for  the  secretaire  proper. 

627 

Spanish  Cabinet  and  Secretaire.  Gothic  style. 

628 

Spanish  Settee.  Early  XVIII.  Century. 

i  629 

Spanish  Moorish  Cabinet.  XVII.  Century. 

630 

Silver  Anklets  Worn  by  Dancers  (India). 

63 1 

Louis  XVI.  Piano. 

Made  by  T.  Tomkison,  a  prominent  London  pianoforte  maker,  who  is 
known  to  have  produced  a  grand  and  cottage  piano  according  to  God¬ 
win’s  patent  about  1836.  Numbered  5736. 

1:  632 

Spinet. 

Made  by  Johann  Schmid  of  Salzburg,  Austria,  who  built  the  first  upright 
piano  about  1780. 

633 

Early  Chickering  Piano. 

Empire  style;  made  in  Boston  by  J.  Chickering;  numbered  499. 

634 

Renaissance  Cathedral  Stall. 

From  Bologna,  Italy;  made  about  1600-50  for  prominent  Bolognese  fami¬ 
lies  for  the  Atrium  of  the  Convent  of  Nuns  of  the  Virgin,  in  the  environs 
of  Bologna.  It  bears  the  coat  of  arms  of  these  families  carved  on  the 
panels.  These,  from  left  to  right,  have  been  identified  as  representing  the 
following  families:  Zambecari ;  Bentivary ;  Pepoli ;  (the  next  still  remains 
unidentified);  Fantuzzi;  (center  panel  unidentified);  Zampieri ;  Alberice; 
Giustiniani;  Rambaldi ;  Pignatelli. 

Lent  by  William  Randolph  Hearst,  Esq. 

635 

Venetian  Church  Lantern.  XVII.  Century. 

636 

Venetian  Church  Lantern.  XVII.  Century. 

637 

Reproduction  of  Old  Peasant  Jewelry  (Bavaria) . 

638 

Mountaineer’s  Belt  (Roumania).  XVIII.  Century. 

639 

Ornamental  Peasant  Leather  Boots  (Russia).  XIX.  Cen¬ 
tury. 

Renaissance  Cathedral  Stall 


FURNITURE  AND  OBJETS  D’ART 


FURNITURE  AND  OBJETS  D'ART 

161 

Ecclesiastical  Processional  Flag  (Spain).  XVII.  Century. 

Silver,  ornamented  with  chased  design  and  embellished  with  gold  orna¬ 
mentation. 

Lent  by  William  Randolph  Hearst,  Esq. 

640 

Flemish  Box  Bed.  Early  XVII.  Century. 

!  Dated  1626. 

Lent  by  William  Randolph  Hearst,  Esq. 

641 

VI 

PERSIAN  MANUSCRIPTS 
MINIATURES  AND 
LACQUERS 


703 


Full-page  Illustrations  in  Color  from  the  Manu¬ 
script  Copy  of  the  Romance  of  Joussof  - Zuleika 


jo4  Full-page  Illustrations  Executed  in  Monochrome 
from  the  Complete  IF  or  ks  of  the  Poet  Saadi 


PERSIAN  MANUSCRIPTS 

165 

Manuscript  of  the  complete  works  of  Busni,  the  greatest 
mystic  poet  of  Persia.  It  contains  ten  full-page  gold  and 
blue  illuminations  in  the  style  Nastalik,  written  before  the 
great  Nur-Imad. 

The  paper  is  the  so-called  “silk”  cloth,  famous  for  its  enduring  qualities. 
The  covers  are  decorated  in  rose  and  gold  lacquer. 

701 

The  Atishkadih  of  the  Poets,  an  Anthology  of  the  best 
classical  Persian  poets,  written  in  Shiskasteh  by  the  noted 
poet-calligraphist,  Aga-Dj  an,  whose  nom-de-plume  is  Nava. 
The  lacquer  covers,  as  well  as  the  gold  illuminations  inside,  are  excellent 
examples  of  this  art  as  practiced  in  Persia  about  two  hundred  years  ago. 

702 

Manuscript  copy  of  the  Romance  of  Joussof-Zuleika  (story 
of  Joseph  and  Potiphar’s  wife),  written  in  Shekasteh  of  the 
Darvish  school. 

The  illustrations  and  gold  illuminations  are  in  the  best  style  of  the  period, 
i  The  lacquer  covers  are  considerably  older  than  the  text  and  are  excellent 
examples  of  the  typical  rose  and  gold  design. 

7°3  ! 

Complete  works  of  the  poet  Saadi,  written  in  the  Naskh 
(Korani)  style. 

Contains  illuminated  title-page  and  five  full-page  illustrations  executed  in 
monochrome.  The  latter  are  typical  examples  of  the  delicacy  and  precision 
of  drawing  which  preceded  the  use  of  color. 

704 

The  complete  works  of  Sadi,  the  poet  of  Shiraz. 

The  lacquer  covers  are  much  older  than  the  book  itself.  It  is  one  of  the 
finest  specimens  of  the  famous  “rose  design”  of  Ispahan. 

705  | 

A  collection  of  Persian  calligraphy  in  Nastalik,  Shikasteh, 
and  Naskh  (Korani). 

Contains  two  pages  by  the  well-known  master,  Mohammed  Ali. 

706 

!  A  collection  of  forty-eight  pages  of  calligraphic  art  by 
noted  Persian  masters  of  calligraphy. 

The  illumination  and  the  vigor  of  the  characters  represent  some  of  the 
best  work  in  design  and  color  of  the  old  schools.  The  pages  bear  the  date 
and  names  of  some  of  the  greatest  Persian  calligraphists,  and  are  said  to 
be  the  only  complete  illustrations  of  the  seven  great  styles  of  Persian  and 

1  Arabic  writing.  There  are  eight  full-page  calligraphic  “exercises”  by  Mir 
Emad,  reputed  to  be  the  greatest  master  of  the  Nastalik  style  of  Persia. 
He  was  attached  to  the  Court  by  Shah  Abbas.  It  also  contains  examples 
!  of  work  by  the  well-known  masters,  Ahmadi,  Neirizi,  Mir  Hassane  Kateb, 
Mirza  Mohammed  Kateb,  Abdul  Ali,  Zeinol  Abedine  Ispahani,  Mohammed- 
‘  Hasseini,  Mir  Haasein,  Mir  Ali  (chief  disciple  of  Mir  Emad),  Shas-Mah- 
mood  Neishaburi,  Mohammed  Zaman  Tabrizi,  Kotbed  Din,  Malek  of  Mir 
!  Emad’s  School,  as  well  as  work  by  disciples  of  Mir  Emad. 

707 

i66 

PERSIAN  MANUSCRIPTS 

708 

A  rare  work  on  medicine,  diseases,  symptoms,  and  their 
remedies,  called  the  Tohfe  of  Hakim  (or  the  philosopher), 
by  Tonokaban,  containing  explanations  of  medical  terms  in 
Persian,  Arabic,  and  Hindoo,  written  in  the  Korani  or  1 
Naskh  style  of  the  School  of  Neirizi,  who  was  one  of  the 
masters  of  this  style  in  Persia. 

The  illuminated  title-pages  are  typical  examples  of  this  art.  The  lacquer 
covers  are  decorated  with  the  well-known  rose  and  green  designs. 

709 

Jami’s  “Sahaman  wa  Absal”  and  other  Poems. 

Jami  (1414-92  A,  D.)  was  born  at  Gam-Khorasan,  whence  he  derived  his 
name.  He  was  the  last  great  classical  poet  of  Persia.  He  wrote  lyrical 
poems  and  much  prose,  chief  of  which  is  his  Baharistan  (Spring  Garden). 

710 

An  Anthology  of  the  work  of  contemporary  poets,  composed 
by  Mahmood  Kadjar,  the  poet  laureate  of  King  Fath-Ali- 
Kadjar  (who  was  contemporaneous  with  the  first  Napoleon). 
The  writing  is  thought  to  be  by  the  poet  himself,  who  was  a 
noted  calligraphist. 

The  lacquer  cover  is  typical  of  the  best  work  of  the  period. 

71 1 

The  complete  works  of  the  poet  Sadi  of  Shiraz  (eleventh 
century),  written  on  hand-made  paper  in  the  style  of  Nast- 
alik,  by  Haji  Abdullah  Ashtiany, 

The  book  contains  seven  chapter  headings  executed  in  gold  and  blue  illum¬ 
ination. 

71 1 

The  complete  works  of  Vessal,  written  by  Ebu  Mohammed 
Kazim  in  Nastalik  style,  containing  sixteen  hundred  verses. 

The  cover  is  much  older  than  the  contents,  and  is  a  representative  example 
of  the  best  lacquer-work  of  the  eighteenth  century. 

713 

A  History  of  Persia,  entitled  “Tarikhi  Mojam,”  by  Mo¬ 
hammed  Hossein  el  Hasseiniel  of  Shiraz.  It  relates  Persian 
history  from  the  time  of  Kayoumarth  (said  to  be  the  first 
Persian  King)  down  to  King  Aimshirwan  the  Just,  in  whose 
reign  Mohammed  the  Prophet  was  born. 

It  is  written  in  Nastalik  style  by  the  well-known  calligraphist,  Moham¬ 
med  Hosseyn  Shirazi.  The  illuminated  title-pages  are  notable  examples 
of  this  form  of  art. 

7H 

An  ancient  work  on  Geography,  entitled  “Haft  Eklini” 
(The  Seven  Regions),  with  plans  descriptive  of  the  great 
ancient  cities  of  Isham. 

The  book  is  very  rare  and  of  great  value  to  special  students  of  this  re¬ 
mote  period. 

MINIATURES  AND  LACQUERS 

167 

A  varied  collection  of  water-color  drawings  and  drawings 
in  monochrome  of  forty-nine  different  subjects  on  thirty- 
eight  pages ;  bound  in  black  leather  cover,  decorated  with 
small  gold  design.  Certain  of  the  pictures  date  back  three 
hundred  years,  while  others  are  more  modern,  showing  the 
European  influence  upon  Indian  art. 

7*5  \ 

A  “History  of  the  Conquests  of  Nadir  Shah  the  Great,” 
written  in  Nastalik  style  on  hand-made  “silk”  paper,  bound 
in  black  parchment  cover,  decorated  with  a  gold  and  rose 
design. 

i  Illuminated  title-pages  are  excellent  examples  of  the  decorative  art  devel¬ 
oped  in  the  School  of  Shah  Abbas. 

716 

i  A  selection  of  Odes  from  Sadi  and  Hafiz,  written  in  the 
Shikasteh  style  of  calligraphy  of  the  School  of  Darvish. 

The  illumination  of  the  pages  throughout  is  typical  of  the  best  style  of 
geometric  design.  It  has  been  pronounced  by  many  authorities  as  one  of 
the  best  examples  of  Shikasteh  writing. 

7J7  i 

Lacquered  Box  (Persia).  XVII.  Century. 

718 

Lacquered  Box  (Persia).  XVII.  Century. 

7*9 

Five  Miniatures.  XIX.  Century. 

720 

Eight  Portrait  Miniatures  with  a  Court  Scene.  XIX.  Cen- 

721 

tury. 

VII 

PHOENICIAN  AND 
EUROPEAN  GLASS 


PREFATORY  NOTE  ON 
PHCENICIAN  GLASS 

THE  real  inventors  of  glass  are  said  to  have  been  the  Egyptians. 
In  the  time  of  Rameses  and  Thothmes,  the  Phoenicians  became 
first  the  agent  and  then  the  pupil  of  Egypt.  Phoenicia,  if  not 
the  native,  was  at  all  events  the  adopted  country  of  glass-making,  and 
was  the  country  in  which  it  reached  the  greatest  perfection  ever 
known  in  antiquity.  The  industry  retained  its  place  in  Phoenicia  down 
to  the  very  end  of  antiquity,  or,  to  be  more  exact,  down  to  the  Middle 
Ages  and  even  to  the  last  century. 

The  character  of  the  objects  is  always  the  same:  little  vases  and 
other  vessels  (objects  of  luxury  —  perfume-bottles,  ointment-jars, 
tear-bottles,  ear-rings,  nose-rings,  bracelets,  anklets,  and  armlets). 

The  wonderful  iridescence  exhibited  by  some  of  these  very  early 
pieces  arises  from  a  chemical  molecular  action  going  on  through  the 
many  centuries  that  these  objects  have  been  buried  in  the  ground  be¬ 
fore  being  excavated. 

The  Phoenicians  made  glass  that  was  quite  opaque,  and  the  secret 
of  which  has  long  since  been  lost,  disappearing  with  them.  The  most 
highly  prized  glass  was  decorated  with  lines  and  ribbons  of  color. 
The  various  steps  of  the  operation  were  as  follows :  The  glass  was 
first  impregnated  with  its  ground  color  and  then  blown  into  its  first 
general  shape;  while  still  hot  and  soft,  it  was  rotated  on  a  metal  rod, 
while  the  workman  engraved  with  a  point  the  incised  lines  of  the  in¬ 
tended  decoration ;  after  this,  and  while  the  vase  was  still  rapidly  ro¬ 
tating,  threads  of  colored  glass  were  forced  into  these  grooves.  Thin 
as  these  threads  were,  they  nevertheless  protruded  in  a  slight  relief, 
but  after  the  vessel  was  annealed  they  were  brought  down  and  a 
homogeneous  surface  obtained  by  polishing  either  by  hand  or  on  a 
wheel.  The  commonest  shape  to  which  a  high  antiquity  can  be  as¬ 
cribed  is  an  alabastron. 

The  colors  most  generally  employed  were  white,  yellow,  green, 


172  PREFATORY  NOTE:  GLASS 


blue,  brown,  and  occasionally  but  very  rarely  red,  with  blue  appear¬ 
ing  most  frequently. 

Large  stores  of  glass  and  other  kindred  treasures  have  been  found 
in  Cyprus,  which  is  said  to  have  been  conquered  by  Phoenicians  from 
Sidon  in  1600  B.  C.,  which  leads  us  to  believe  that  the  art  treasures 
of  that  island  were  most  probably  created  in  the  workshops  of  this 
powerful  Phoenician  city  whose  sailors  manned  the  fleets  of  Solomon. 
The  introduction  of  glass  vases  in  Cyprian  tombs  was  generally 
thought  to  date  from  about  500  B.  C.,  but,  judging  by  the  pottery 
found  in  these  tombs,  more  recent  excavators  are  inclined  to  regard  | 
these  glass  vases  as  of  earlier  date,  and  Newton  includes  Cyprus 
vases  in  the  arguments  by  which  he  determines  the  dated  Mycenaean 
antiquities  at  800  B.  C. 

The  superiority  of  Phoenician  glass  is  attributed  partly  to  the  fine¬ 
ness  of  the  sand  collected  on  the  coast  at  the  mouth  of  the  river  Be- 
lus,  near  Ptolemais. 

The  long  pointed  vases  with  one  or  two  handles  may  generally  be 
considered  Egyptian,  while  the  more  bulbous-shaped  jars,  often  with 
a  spout  and  one  handle,  are  most  probably  Phoenician. 


7°7  Page  No.  XXII  from  a  Collection  of  Forty- 

eight  Pages  of  Calligraphic  Art  by  Noted 
Persian  Masters  of  Calligraphy 


PHOENICIAN  GLASS 

H3  i 

I. 

PHOENICIAN  GLASS 

DOUBLE  TEAR-BOTTLE. 

Covered  with  an  iridescent,  silvery,  opalescent  oxidation, 
the  result  of  chemical  molecular  action  produced  by  being 
buried  in  the  ground  for  many  centuries.  (See  the  intro¬ 
ductory  note  on  ancient  Phoenician  glass-making.) 

801 

TEAR-BOTTLE. 

Transparent  glass  suffused  with  a  slight  peacock-colored 
iridescence. 

802  ; 

TEAR-BOTTLE. 

Semi-opaque  green  glass  suffused  with  a  slight  iridescence. 

8°3 

TEAR-BOTTLE. 

Translucent  seaweed-colored  glass  invested  with  a  slight 
iridescence. 

804 

TEAR-BOTTLE. 

Transparent  glass  thickly  encrusted  with  a  flame-colored, 
iridescent  oxidation. 

00 

0 

PERFUME-BOTTLE. 

Translucent  seaweed-colored  glass  heavily  encrusted  with  a 
brilliant  opalescent,  iridescent  oxidation. 

806 

BOUDOIR-JAR. 

<  Transparent  glass,  encrusted  with  opalescent,  iridescent  oxi¬ 
dation. 

00 

0 

VASE. 

Ovoid-shaped  body  and  tall  neck,  highly  oxidized  with  an 
opalescent  iridescence ;  extremely  light  in  weight. 

808 

J74 

PHOENICIAN  GLASS 

809 

PERFUME-BOTTLE. 

Transparent  blue-green  glass,  encircled  with  a  geometric 
design ;  highly  oxidized  with  an  opalescent  iridescence. 

810 

TOILETTE-BOTTLE. 

Transparent  glass,  pear-shaped  body  with  long  flute-like 
neck. 

|  81 1 

BOUDOIR-JAR. 

Transparent  glass,  encrusted  with  opalescent  oxidation. 

812 

SMALL  OINTMENT-VESSEL. 

Transparent  seaweed-colored  glass. 

813 

BOUDOIR-BOTTLE. 

Semi-opaque  grass-green  glass. 

814 

PERFUME-BOTTLE. 

Opaque  glass ;  ovoid  body  and  long  neck,  embellished  with 
ribbed  decoration.  This  piece  represents  a  long-lost  art  of 
glass-making  that  disappeared  with  the  Phoenicians. 

815 

TEN  FRAGMENTS  OF  PPICENICIAN  GLASS. 

816 

FIVE  FRAGMENTS  OF  ANCIENT  FAIENCE. 

Covered  with  light-colored  glaze  and  conventional  ornamen- 

tation. 

817 

ONE  TANAGRA  STATUETTE  (terra-cotta)  fragment. 

818 

OINTMENT  BOTTLE. 

Translucent  sea-weed  colored  glass. 

II. 

EUROPEAN  GLASS 

819 

PERFUME-BOTTLE  (French).  Modern. 

Made  by  E.  Galle  in  Nancy. 

EUROPEAN  GLASS 

*75 

PERFUME-BOTTLE  (French).  Modern. 

Made  by  E.  Galle  in  Nancy. 

820 

BOUDOIR-BOTTLE  (French).  Modern. 

821 

LIBATION-CUP  (German).  Modern. 

Reproduction  of  old  German  glass,  dated  1645.  Bears  the 
coat  of  arms  of  Count  de  Ho  Henlohe.  Made  by  the  Kunst 
Gewerbe  Museum  in  Berlin. 

822  ; 

WINE-FLAGON  (English). 

Adaptation  of  old  Venetian  glass  made  in  similar  shapes, 
dated  1835.  Bears  the  initials  H.  S.  D.  B. 

823 

FLASK  (German) .  Modern. 

Reproduction  of  old  German  glass  of  the  seventeenth  cen¬ 
tury. 

OO 

LIBATION-CUP  (Bohemian).  Modern. 

Reproduction  of  Bohemian  glass,  dated  1618.  Bears  the 
coats  of  arms  and  the  images  of  the  seven  ruling  sovereigns 
of  the  Teutonic  Federation.  Reading  from  left  to  right: 
Bohmen,  Rhein,  Sachsen,  Branden  Burch,  Trier,  Coin, 
Meinz. 

825 

LIBATION-CUP  (German) .  Dated  1632. 

Bears  the  family  crest  of  Count  de  Stolberg. 

826 

LOVING-CUP  (German) .  Modern. 

Reproduction  of  old  German  flip  glass,  dated  1616.  Bears 
the  coats  of  arms  of  the  dukedoms  and  principalities  com¬ 
prising  the  German  Empire  in  1616,  emblazoned  on  the  out¬ 
spread  wings  of  the  Prussian  double  eagle,  and  carries  the 
following  legend  around  the  rim:  “Das  gantze  Heilige  Ro- 
mische  Reich  Mitt  Seinen  Gliedern  Allzughleich  (The  en¬ 
tire  Holy  Roman  Empire  with  all  its  members),  with  the 
initials  G.  W.  M.  Z.  B.,  and  dated  Anno  1616. 

827 

STIEGEL  GLASS  BOTTLE  (German) .  XVII.  Century. 

828 

iy6 

EUROPEAN  GLASS 

829 

WINE-FLAGON  (English) .  XVIII.  Century. 

Adaptation  of  old  Venetian  glass. 

830 

DECORATIVE  SALON  PIECE.  XIX.  Century. 

Bohemian  cut  glass. 

831 

DECORATIVE  SALON  PIECE.  XIX.  Century. 

Bohemian  cut  glass. 

832 

COVERED  BOWL  (English). 

Waterford  glass. 

833 

WATER-CARAFE  (English). 

Bristol  amethyst  glass. 

1  834 

LOW  BULBOUS-SHAPED  VASE  (German). 

Modern  imitation  of  old  Persian  glass.  Made  in  Petersdorf. 

835 

DESSERT-BOWL  AND  SAUCER  (American). 

Tiffany  glass.  Modern  attempt  to  simulate  the  iridescent 
color  and  quality  of  the  ancient  Phoenician  luster  glass. 

836 

CHAMPAGNE-GLASS  (American). 

Tiffany  glass.  Same  type  as  preceding. 

837 

DECORATED  BOWL  (Persian). 

Modern  ware. 

!  838 

DECORATED  PLATE  (Persian). 

Modern  ware. 

Section  of  T extile  l nstallatio'n 


VIII 

TEXTILES 


INTRODUCTION 


FOR  every  specialist  the  study  of  woven  fabrics  is  fascinating, 
nevertheless  the  general  interest  seems  concentrated  with  prefer¬ 
ence  rather  on  rugs  and  tapestries  than  on  the  often  ragged 
fragments  of  the  art  of  the  loom.  Any  subject  taken  up  with  persist¬ 
ence  and  enthusiasm  becomes  interesting ;  this  is  particularly  true  with 
reference  to  weaves.  In  their  patterns  we  discover  a  rich  harvest  of 
beauty ;  the  evolution  of  these  patterns  is  one  of  the  most  interesting 
problems  of  the  history  of  art,  and  the  different  influences  we  see  in 
these  patterns  constitute  one  of  the  most  important  witnesses  of  the 
trade  relations  of  the  past  and  of  the  development  of  civilization,  for 
weaves  reflect  the  general  tendencies  closer  than  any  other  work  of 
art,  for  at  the  time  of  their  origin  they  were  nothing  but  merchandise, 
made  after  the  needs  of  the  trade  and  the  wants  of  the  public. 

A  piece  of  textile  is  easily  transported,  and  textiles  in  very  early 
epochs  have  been  traded  all  over  the  Old  World.  Silk  weaves  were 
imported  from  China  to  the  Mediterranean  countries  as  early  as  the 
time  of  Alexander  the  Great,  and — not  unlikely  to  our  modern  indus¬ 
trial  organization — Alexandria,  the  capital  of  Egypt  under  the  Roman 
domination,  built  up  a  weaving  industry  the  products  of  which  were 
carried  over  the  entire  Roman  empire  as  well  as  over  the  trade  routes 
of  the  epoch  to  the  east  coast  of  Africa  and  to  India.  Tapestry  weaves 
used  as  decoration  of  garments,  manufactured  all  over  Egypt,  have 
been  discovered  in  considerable  number  in  the  astonishing  excavations 
°f  Egyptian  tombs,  made  about  forty  years  since.  From  the  same 
source  we  possess  numerous  Alexandrian  silk  brocades,  and  other  speci¬ 
mens  of  this  art  of  the  early  Byzantine  period  from  the  fourth  to  the 
seventh  century  A.  D.  have  been  treasured  in  European  cathedrals  for 
hundreds  of  years,  where  they  were  the  precious  covers  of  more  pre¬ 
cious  reliques  of  saints  and  martyrs. 

These  Alexandrian  weaves  in  their  earlier  period  are  full  of  the 
charm  of  the  Greek  antique.  Certain  weaves  rival  in  elegance  and 


180  INTRODUCTION:  TEXTILES 


beauty  the  skilful  work  of  the  Greek  vase  painters ;  others  reflect  the 
earliest  period  of  Christianity  in  Egypt.  Very  soon  we  observe  an  in¬ 
filtration  of  Oriental  motives,  as  the  entire  Greco-Roman  civilization 
underwent  at  this  period  the  influence  of  Oriental  art,  Oriental  philo¬ 
sophy,  and  Oriental  religions.  Persian  patterns,  showing  fantastic 
winged  animals,  as  we  meet  them  first  in  Assyrian  art,  or  describing 
the  hunting  exploits  of  the  Sassanian  “Kings  of  the  Kings,”  are  found 
on  the  rarest  specimens  of  Alexandrian  silk  weaves  ;  and  when  the  big 
wave  of  the  Mohammedan  conquest  in  640  A.  D.  swept  away  the 
Byzantine  provinces  of  Syria,  Palestine,  and  Egypt,  not  only  did  the 
centres  of  Roman  textile  industry  fall  into  the  hands  of  the  Moham¬ 
medans,  but  the  same  immense  wave  of  military  power  and  religious 
enthusiasm  overwhelmed  also  the  second  textile  country  of  the  West, 
the  Sassanian  empire,  comprising  Mesopotamia  as  well  as  Persia. 

Sassanian  weaves  must  have  as  great  fame  as  those  from  Alexan¬ 
dria,  for  dating  as  early  as  the  eighth  century  A.  D.,  we  possess  Chi¬ 
nese  weaves,  preserved  in  the  famous  treasure  house  in  Nara  in  Japan, 
which  are  direct  copies  of  Sassanian  patterns,  besides  other  Chinese 
weaves  in  which  the  style  of  Alexandria  is  felt. 

The  loss  of  Egypt  created  a  new  centre  for  the  Byzantine  textile  : 
industry,  which  from  the  seventh  to  the  thirteenth  century  produced 
its  greatest  marvels  in  the  imperial  manufacture  of  the  Gynaikeion  in 
the  quarter  of  the  Zeuxippos  in  Constantinople.  The  “panni  imperiales  ( 
de  Romania,”  as  they  are  called  in  mediaeval  inventories,  won  fame 
all  over  Europe,  and  the  famous  lion  weaves  in  Siegburg,  Dusseldorf, 
and  particularly  the  famous  weave  with  huge  elephants  in  circular 
medallions  discovered  in  the  tomb  of  Charlemagne  in  Aachen,  Ger¬ 
many,  testify  to  the  splendor  and  richness  of  these  imperial  Byzan¬ 
tine  weaves.  The  signatures  woven  into  these  invaluable  pieces  leave 
no  doubt  as  to  their  origin  and  period. 

Byzantine  art  influences  entirely  the  beginnings  of  textile  art  in 
Italy  and  Germany  during  the  twelfth  and  thirteenth  centuries.  It  is 
itself  deeply  impressed  by  Sassanian  textile  art  and  that  of  the  Mo-  j 
hammedans  in  Egypt  and  Persia,  of  which  only  rare  specimens  have 


Rich  Applique  Embroidery  ( Spanish ) 


Middle  XVI .  Century 


INTRODUCTION:  TEXTILES  181 


been  preserved.  Not  before  the  thirteenth  century,  this  great  period  of 
political  and  artistic  evolution,  will  the  domination  of  Byzantine  pat¬ 
terns  cease,  with  their  strong  medallions  with  heraldic  representations 
of  symmetrically  grouped  animals,  in  the  middle  of  which  we  general¬ 
ly  observe  a  tree  or  flower  motive,  last  remembrance  of  the  Assyrian 
mystic  Tree  of  Life. 

The  most  important  event  in  the  history  of  the  world  during  the 
thirteenth  century  is  very  likely  the  expansion  of  the  Mongol  power 
under  Djengiz  Khan  over  Central  Asia,  China,  Siberia,  Russia,  and  a 
great  part  of  Mohammedan  countries,  bringing  thus  the  countries  from 
the  Pacific  Ocean  to  the  Black  Sea  under  the  same  rule.  Djengiz  Khan 
died  in  1227.  Under  his  descendants  the  Mongol  conquest  was  carried 
on.  The  conquest  of  Kiew  in  1237,  that  of  Bagdad  in  1258,  and  the 
final  destruction  of  the  Chinese  Southern  Sung  empire  in  1279  by 
Kublai  Khan  are  the  most  important  dates  of  the  Mongol  expansion, 
which  was  of  the  greatest  importance  for  the  history  of  civilization, 
as  it  put  again  the  Western  countries  in  touch  with  the  Far  East,  and 
re-established  relations  of  trade  and  civilization,  which  had  practical¬ 
ly  been  interrupted  since  the  Mohammedans  had  erected  a  barrier  be¬ 
tween  the  Christian  countries  of  the  West  and  the  Chinese  empire  of 
the  Tang.  In  no  branch  of  art  is  this  influence  of  the  Far  East  on  the 
West  better  felt  than  in  the  textiles.  Specimens  of  Chinese  weaves  are 
discovered  in  Egyptian  tombs  of  the  thirteenth  century.  The  “panni 
tatarici”  are  now  often  mentioned  in  the  inventories  of  church  treas¬ 
ures,  a  considerable  number  of  Chinese  weaves  have  been  preserved  in 
European  churches  as  ecclesiatical  vestments,  and  since  about  1300 
the  Italian  patterns  of  textiles,  mainly  the  weaves  of  Lucca,  show  a 
strong  Chinese  influence  in  the  liveliness,  asymmetry,  and  color  com¬ 
bination  of  their  patterns,  absolutely  different  from  the  hieratic  style  of 
the  Byzantine  weaves.  Many  of  these  Lucca  weaves  of  the  fourteenth 
century  show  Chinese  motives ;  we  find  there  the  Chinese  phoenix  and 
dragon,  the  Ky-lin  animals  with  flames  on  shoulders  and  hips,  the 
curved  stems  and  boldly  designed  flowers  of  the  Chinese  peony  pat¬ 
terns. 


i8 2  INTRODUCTION:  TEXTILES 


The  Italian  weaves  of  the  fourteenth  and  fifteenth  centuries  are  a 
European  evolution  of  these  Chinese  patterns  and  of  those  of  the 
nearer  East,  in  which  also  a  very  strong  Chinese  influence  is  to  be  felt. 
But  gradually  European  spirit  pervades  these  patterns,  and  the  Ital¬ 
ians  created  during  the  second  half  of  the  fifteenth  century  those  glori¬ 
ous  cloths  of  gold  with  silk  velvet  which  we  know  so  well  from  the 
paintings  of  the  Flemish  and  Italian  schools  of  the  same  period,  where 
they  are  often  found  as  wall-hangings  as  well  as  garments.  Numerous 
specimens  of  these  beautiful  weaves  are  preserved  which  show  huge 
curved  stems  with  floral  patterns  of  an  abstract  beauty  of  ornamental 
harmony  hitherto  unsurpassed. 

The  textile  art  of  the  Italian  Renaissance  during  the  late  fifteenth 
and  sixteenth  centuries  was  setting  the  pace  for  the  textile  art  all  over 
Europe,  particularly  Spain,  and  introduced  Renaissance  motives,  espe¬ 
cially  the  classic  acanthus,  into  the  patterns  created  by  the  preceding 
period,  but  it  did  not  surpass  the  splendor  of  the  late  Gothic  weaves 
and  did  scarcely  add  any  new  conception  to  the  art  of  textiles. 

Such  a  new  conception,  fruit  of  a  new  spirit  of  civilization  and  of  a 
fresh  inspiration  by  nature,  arises  only  when  toward  the  end  of  the 
seventeenth  century  the  centre  of  textile  production  shifts  from  Italy  ; 
to  Lyons  and  Tours  in  France,  and  when  in  the  early  eighteenth  cen¬ 
tury,  during  the  Regence  and  early  Louis  XV.  period,  the  cult  of  the 
charm  of  womanhood  and  a  loving  study  of  flowers  and  gardens  ere-  j 
ates  a  new  style,  which  is  best  expressed  by  the  creations  of  the  great  , 
Lyonese  designer,  Philippe  de.la  Salle,  and  in  which  the  sweetness  and 
sensitiveness  of  the  Rococo  style  finds  as  adequate  an  expression  as  in 
the  work  of  Watteau,  Clodion,  Boucher,  or  Fragonard. 

.Many  attempts  have  since  been  made,  some  original,  some  retro¬ 
spective,  to  create  a  new  style  in  textile  art.  The  future  will  teach  us  i 
if  such  attempts  will  successfully  express  the  innumerable  forces,  ten¬ 
dencies,  and  energies  of  our  modern  epoch. 

But  woven  fabrics  are  not  only  one  of  the  most  important  sources  of 
the  history  of  art;  the  beauty  of  their  design  and  colors  makes  them 
enjoyable  as  works  of  art,  and  they  prove  a  particularly  valuable  help 


5 


INTRODUCTION:  TEXTILES  183 


in  the  great  task  of  artistic  education,  as  the  literary  element,  which  so 
often  in  painting  or  sculpture  confounds  plastic  art  with  poetry,  is 
completely  absent  in  the  works  of  the  loom.  To  enjoy  them  we  must 
have  a  vivid  feeling  for  form  and  color,  and  we  need  nothing  but  that. 

On  the  other  hand,  textiles  are  excellent  to  sharpen  our  eye  for  the 
subtle  differences  of  technique,  on  which  very  often  the  artistic  quality 
of  a  weave  is  based.  They  quicken  in  us  not  only  the  sense  of  beauty, 
but  also  that  of  keen  observation. 

Mrs.  Phoebe  A.  Hearst’s  collection  of  woven  fabrics  is  of  particular 
interest  to  a  young  museum,  in  which  just  the  educational  values  of 
works  of  art  are  particularly  appreciated.  The  Hearst  collection  shows 
a  great  variety  of  textile  patterns  of  European  and  Asiatic  countries ; 
it  allows  an  excellent  survey  over  the  evolution  of  textile  patterns 
since  the  sixteenth  century  and  gives  a  capital  account  of  the  different 
textile  techniques,  particularly  remarkable  among  them  being  the  series 
of  needlework  extending  from  the  sixteenth  century  to  the  present  day. 

The  classification  of  the  textiles  has  been  made  first  from  the  stand¬ 
point  of  technique,  as  the  knowledge  of  the  different  techniques  is  the 
basis  of  the  artistic  appreciation.  The  further  classification  has  been 
made  after  the  countries  and  the  date  of  origin.  The  description  of 
every  piece  contains  first  a  description  of  the  technique  and  an  analysis 
of  the  pattern ;  in  this  analysis  the  attempt  was  made  to  show  their 
genesis  and  evolution. 

The  prominent  place  among  the  fabrics  is  taken  by  the  shuttle- 
woven  fabrics,  in  which  the  pattern  is  produced  by  inserting  wefts  of 
different  colors,  which  alternatingly  appear  on  the  front  side  of  the 
weave  (brocades),  or  in  which  the  warps  sometimes  appear,  sometimes 
are  hidden  behind  a  weft  of  different  color  (damasks).  In  this  group 
also  the  velvets  have  to  be  included,  in  which  a  second  warp  produces 
a  velvet  pile,  the  alternation  of  which  with  plain  satin  ground  forms 
the  pattern. 

In  these  three  types  of  weaves  the  wefts  are  running  through  the 
entire  width  of  the  weave,  and  the  pattern  on  the  back  of  the  weave 
presents  generally  the  opposite  color  scheme  to  the  front  of  the  weave. 

I —  ■■  -  = 


i84  INTRODUCTION:  TEXTILES 


In  tapestry-weaving  no  weft  is  running  through  the  entire  field  of 
the  warps.  Wefts  of  different  colors  are  intertwisted  in  between  the 
warp  threads  only  as  far  as  this  is  required  by  the  pattern.  Tapestry¬ 
weaving  is,  together  with  embroidery,  the  earliest  technique  of  pro¬ 
ducing  patterned  textiles.  In  primitive  times  it  was  employed  for 
human  garments  as  well  as  for  wall-hangings.  The  tapestry-woven 
Chinese  garments  of  the  Hearst  collection  are  a  last  reminder  of  this 
function,  which  generally  has  been  superseded  by  brocade-weaving. 

In  certain  Indian  weavings  parts  of  the  weave  are  also  executed  in 
tapestry  technique.1  The  famous  Cashmere  shawls  are  woven  in  a  very 
complicated  technique,  in  which  embroidery  and  a  special  type  of 
tapestry-weaving,  producing  a  twill  effect,  are  combined.  The  Euro¬ 
pean  (mainly  French  and  Scottish  Paisley)  shawls  are  of  an  absolute¬ 
ly  different  technique ;  they  are,  technically  speaking,  woolen  brocades 
imitating  the  patterns  of  the  Cashmere  shawls. 

Of  a  particular  interest  in  the  Hearst  collection  are  the  printed  and 
dyed  fabrics  in  which  the  pattern  is  produced  by  block-print  or  by 
giving  different  colors  to  the  warps,  which  after  they  are  woven  form 
more  or  less  complicated  patterns. 

Among  the  embroideries  the  splendid  series  of  Spanish  needlework, 
as  used  for  altar-hangings  copes  and  chasubles,  deserves  particular 
attention.  R.  Meyer-Riefstahl. 


1Cf.  the  Indian  San  No.  5. 


SUMMARY  OF 
TEXTILE  SECTIONS 


A.  WOVEN  FABRICS 


I.  Italy 
ii.  Spam 
hi.  France 

iv.  Persia 

v.  T urkey 


vi.  India 
vn.  China 
vm.  Japan 
ix.  Bavaria 
x.  Russia 


B.  TAPESTRY  WEAVES 
China 


C.  CASHMERE  SHAWLS 
India 


D.  PRINTED  AND  DYED  FABRICS 
i.  Indian  Block  Prints 

ii.  Fabrics  zvith  tied  and  dyed  warps:  Malayan 
Archipelago 

hi.  Resist  Dyes:  Japan 


E.  NEEDLE  WORK 


i.  Spain 
ii.  Sicily 

hi.  Eastern  Mediterranean 

iv.  Balkan 

v.  T urkey 

vi.  Turkestan 
vii.  Persia 


vm.  India 

ix.  China 

x.  Japan 
xi.  Germany 

xii.  Sweden 
xm.  Bavaria 
xiv.  Hungary 


WOVEN  FABRICS 


186 


A. 

WOVEN  FABRICS 


900 


I.  ITALY. 

ITALIAN  VELVET,  POMEGRANATE  PATTERN. 
XV.  Century. 

Technique:  Red  silk  for  warp  and  velvet  pile;  yellow  silk 
for  the  weft  (invisible).  The  design  is  formed  by  the  alter¬ 
nation  of  velvet  pile  with  other  parts  of  the  weave  in  which 
the  red  warp  only  is  employed  in  satin  binding.  Pattern : 
Very  fine  Gothic  pattern;  huge  circular  floral  forms  of  the 
shape  of  the  Gothic  rose  are  connected  one  with  the  other  by 
short  stems  and  cover  the  field  of  the  weave  in  regular  rows. 
In  the  middle  of  the  Gothic  rose  a  flower  bouquet,  in  the 
centre  of  which  a  conventionalized  pomegranate  is  discern¬ 
ible. 


900A 


ITALIAN  VELVET.  XVII.  Century. 

Fragment  of  large  velvet  hanging,  similar  to  No.  906. 
Warp  and  weft:  Salmon-red  silk  thread,  velvet  pile,  and 
crimson  silk. 


901 


RED  ON  BLUE  VELVET,  SMAJLL  ALL-OVER  PAT¬ 
TERN  (Italy).  Second  half  XVI.  Century. 

Red  warp,  second  blue  warp  forming  the  velvet  pile.  The 
weft,  consisting  of  alternating  yellow  and  blue  threads,  is 
invisible,  except  where  the  weave  is  worn  down.  Small  all- 
over  pattern  of  curved  acanthus  stems  forming  ogives ;  in 
the  middle  of  the  ogives  conventionalized  flowers.  These 
all-over  patterns  are  derived  from  the  ogive  patterns  of  the 
Lucca  weaves  of  the  fourteenth  and  fifteenth  centuries. 
They  came  into  fashion  after  1550  for  the  costume  of  men 
and  women,  when  the  huge  patterns  of  the  preceding  period, 
used  alike  for  wall  decoration  and  garments,  were  felt  inap¬ 
propriate  for  the  latter  purpose.  . 


3'  5"  x  4'  0". 


TEXTILES 


*87 


CLOTH  OF  GOLD  (Italy).  Late  XVI.  Century. 

Warp:  Dark  purple.  Weft:  Dark  purple,  overlaid  with 
thin  silver  wire  to  create  an  effect  of  silver  and  purple  as 
background  for  the  design,  which  is  formed  by  brocaded 
gold  and  silver  threads.  These  metal  threads  are,  respective¬ 
ly,  yellow  and  white  silk  thread,  overspun  spirally  by  a 
flat  silver  or  gold  wire,  in  order  to  increase  the  color  effect 
of  gold  and  silver,  respectively.  The  chenille  effect  is  ob¬ 
tained  by  twisting  two  of  these  threads  together.  Leaves  and 
flowers  are  indicated  by  light-green  and  pink  brocading. 
Small  all-over  pattern  of  asymmetrical  branches  of  acan¬ 
thus-leaves  and  conventionalized  flowers,  grouped  in  oppo¬ 
site  rows,  as  characteristic  of  the  small  all-over  patterns  of 
the  late  sixteenth  century.  Very  fine  and  rich  weave.  (Com¬ 
pare  No.  932. 

CHASUBLE,  OR  PRIEST’S  ROBE,  MADE  OF  VEL¬ 
VET  (Italy).  Late  XVI.  Century. 

Warp:  Yellow  and  green  silk  thread  in  alternating  groups. 
A  second  warp  forms  the  pattern  in  green  velvet  pile,  uncut 
on  the  outside,  cut  on  the  inside.  The  weft,  hardly  visible, 
of  yellowish  linen  threads  overlaid  with  flat  silver  wire,  to 
obtain  a  soft  silvery  shine  over  the  weave.  Small  all-over 
pattern  of  little  branches  with  flowers,  asymmetrical  and  in 
opposite  rows.  Silver  trimmings  outline  the  cross  motive  on 
front  and  back  of  the  chasuble.  (Compare  No.  932.) 

VELVET  FOR  WALL  HANGING  (Italy).  Late  XVI. 
or  Early  XVII.  Century. 

The  pattern  is  executed  in  green  silk  velvet,  in  uncut  loops 
on  the  outline,  cut  in  the  inside  of  the  pattern.  The  back¬ 
ground  is  formed  by  pale  yellow  warp.  The  weft  is  not  visi¬ 
ble,  being  entirely  covered  by  the  warp  and  the  velvet  pile. 
The  pattern  shows  curved  acanthus-stems  with  birds  form¬ 
ing  ogives,  held  together  by  crowns.  In  the  middle  of  the 
ogives  are  Renaissance  vases  with  conventionalized  flowers. 
This  pattern,  derived  from  the  ogive  patterns  of  the  Lucca 
weaves  of  the  fourteenth  century,  appears  here  in  the  typi- 


902 


9°3 


9°4 


i88 

WOVEN  FABRICS 

cal  form  of  the  late  Italian  Renaissance,  as  manufactured 
mainly  in  Florence,  Bologna,  Venice,  and  Genoa. 

9°5 

VELVET  STRIP  FORMING  THE  BORDER  OF  A 
WALL-HANGING  (Italy).  Late  XVI.  or  Early  XVII. 
Century. 

Technique  and  color  scheme  the  same  as  No.  904.  Pattern: 
Flower-vases  filled  with  symmetrical  Renaissance  acanthus- 
stems,  on  which  are  conventionalized  flowers  or  fruits  of 
the  pomegranate  type ;  pattern  found  on  Italian  textiles 
since  the  fifteenth  century. 

906 

HALF  OF  A  CHASUBLE,  RED  VELVET  (French  or 
Italian).  XVII.  Century. 

Plain  red  velvet,  warp  and  weft  salmon-red  silk  thread, 
velvet  pile  crimson  silk. 

9°7 

RICH  CLOTH  OF  GOLD,  FRAGMENT  OF  A 
CHASUBLE  (Italy).  XVII.  Century. 

Warp:  Thin  white  silk  thread  for  the  background,  thin 
yellowish  thread  for  fixing  the  wefts  to  the  weave.  Wefts :  ; 
White  silk  for  the  background,  blue  and  gold  for  the  pat¬ 
tern.  The  gold  thread  is  one  single  overspun  gold  thread,  ; 
or  two  yellow  silk  threads  overspun  by  flat  gold  wire,  and 
twisted  together,  producing  a  chenille  effect.  Pattern :  This 
weave  must  have  been  woven  purposely  for  a  chasuble,  as 
the  border  is  woven  to  the  piece  and  the  pattern  is  not  re¬ 
peated,  although  forty-five  inches  long.  The  pattern  shows 
two  central  stripes,  surrounded  by  rich  baroque  scroll-work, 
in  which  we  find  arabesque  spirals,  acanthus-leaves,  and 
fantastic  flowers  as  characteristic  of  the  seventeenth  cen¬ 
tury  in  Italy. 

2'  3"  x  V  9 A 

908 

ITALIAN  PURPLE  VELVET.  XVII.  Century. 

On  a  ground  formed  by  the  purple  warp,  the  pattern  is  pro¬ 
duced  by  a  purple  velvet  pile,  the  velvet  loop  being  partly 
cut,  partly  uncut.  The  weft,  consisting  of  alternating  pur¬ 
ple  silk  thread  and  white  linen  threads,  is  entirely  hidden. 
The  pattern  shows  symbols  and  instruments  of  the  Passion 

Embroidered  Chasuble  ( Spain ) 

XVII.  Century 


971 


974  Embroidery  ( Spam ).  Early  XVIII.  Century 

Right  half  of  design;  same  motif  repeated  in  the  left  half 


TEXTILES 

l8() 

(the  sudarium  of  St.  Veronica,  St.  Peter’s  rooster,  the  cross, 
the  pillar  of  the  flagellation,  etc.)  symmetrically  grouped 
as  an  all-over  pattern  amidst  late  Renaissance  convention¬ 
alized  flower  motives,  as  characteristic  of  the  seventeenth 
century.  The  color  of  the  velvet  is  mauve,  the  color  used  for 
ecclesiastical  vestments  during  Lenten  time.  Similar  weaves 
of  the  same  period  sometimes  occur. 

r  5"  x  2'  3". 

SQUARE  OF  VELVET  BROCADE  (Italy,  Genoa). 

9°9 

XVII.  Century. 

Pattern  formed  by  green  and  pink  velvet,  the  velvet  uncut 
on  the  outlines  of  the  pattern,  the  background  formed  by 
white  warp  and  weft  and  a  weft  of  flat  silver  wire.  Pattern 
of  curved  stems  with  flower  bouquets  in  between.  The  half- 
naturalistic  design  is  characteristic  of  the  late  baroque  pat¬ 
terns  in  Italy. 

BACK  OF  A  CHASUBLE  (Italian).  Late  XVII.  or 

910 

Early  XVIII.  Century. 

Typical  and  good  example  of  the  rich  brocades  of  about 
1700.  The  greenish  warp  forms  the  background  in  a  rep 
effect  (gros  de  Tours).  The  wefts  are  very  numerous  :  three 
different  greens,  three  blues,  three  reds,  three  purples,  be¬ 
sides  which  rich  silver  brocading  of  overspun  silver  thread, 
making  a  total  of  thirteen  different  wefts.  This  weave  shows 
an  extraordinary  technical  progress  compared  with  the 
weaves  of  the  sixteenth  century.  The  pattern  shows  asym- 

metrical  branches  with  huge  fantastic  half-naturalistic  flow¬ 
ers  and  fruit,  among  which  we  may  recognize  grapes, 
peonies,  “Agues  de  barbarie,”  and  pomegranates.  The  tex¬ 
tile  patterns  in  the  famous  sample-book  of  Clement  Marot, 
seventeenth  century,  are  of  similar  character. 

2'  3"  x  3'  4". 

II.  SPAIN. 

HAND-COLORED  DAMASK,  USED  FOR  CURTAINS 

91 1 

AND  WALL-HANGINGS  (Spam).  First  half  XVIII. 
Century. 

Warp  and  weft  both  white  and  salmon-red,  the  pattern 

WOVEN  FABRICS 


igo 


formed  by  bringing  the  white  warp  and  weft  to  the  front 
and  keeping  the  red  threads  behind,  the  background  formed 
by  the  red  warps  and  wefts.  The  back  of  the  weave  shows 
the  same  pattern,  but  naturally  in  reversed  order.  The  pat¬ 
tern,  repeated  twice  in  the  width  of  the  weave,  shows  a  tree 
with  huge  fantastic  flowers,  typical  of  the  late  seventeenth 
and  the  early  eighteenth  centuries,  overshadowing  a  Renais¬ 
sance  castle,  with  door,  walls,  and  turrets.  Such  com¬ 
positions  are  typical  of  European  weaves  of  the  Louis 
XIV.  and  Regence  period.  They  may  have  been  influenced 
by  similar  compositions  found  on  Chinese  weaves,  lacquer- 
work,  and  porcelain.  Their  illogical  but  graceful  symmetry 
is  an  eloquent  expression  of  the  fanciful  spirit  which,  from 
the  pompous  style  of  Louis  XIV.,  led  over  to  the  charming 
freedom  of  the  Regence  period.  This  weave  is  probably 
Spanish.  It  is  a  well-known  pattern,  and  is  reproduced  in 
O.  v.  Falkes  Geschichte  von  Seidenweberei  (Berlin,  1912). 


y  3"  x  v  2". 


912 


9l3 


RECTANGULAR  TABLE-CLOTH,  WOVEN  IN  ONE 
PIECE  (Spain  or  Italy).  Middle  XVIII.  Century. 

Warp:  Mauve  silk  thread,  forming  the  background.  The 
main  weft,  giving  body  to  the  weave,  is  kept  entirely  invisi¬ 
ble.  The  pattern  is  formed  by  wefts  of  overspun  gold  and 
silver,  and  pink,  blue,  and  green  chenille  brocading.  Pat¬ 
tern  of  half-naturalistic  flowers  and  rococo  scroll-work. 

III.  FRANCE. 

BROCADE  (French).  Early  XVIII.  Century. 

Warp:  Light  blue  and  white,  coming  alternatively  to  the 
front  as  the  pattern  requires.  Weft:  White,  producing  very 
skilfully  by  different  binding  two  different  effects :  (a)  em¬ 
ployed  in  a  shiny  satin  effect;  (b)  taffeta  effect,  with  over¬ 
spun  silver  thread.  Pattern :  Very  elaborate,  showing  a  mix¬ 
ture  of  naturalistic  flower  motives  (blackberry  branch,  fern 
leaves)  and  fantastic  flowers  and  fruits.  The  entire  pattern 
is  strongly  influenced  by  the  contemporaneous  lace  patterns. 


V 


— 


TEXTILES 


igi 


These  weaves  must  have  been  manufactured  in  France 
mainly  during  the  late  seventeenth  century,  but  they  are 
found  in  portraits  as  late  as  1734.1 

r  9"  x  3'  3". 


SILVER  BROCADE  (French).  First  half  XVIII.  Cen-  914 
tury.  (Perhaps  copy  of  the  Second  Empire.) 

Warp:  Purple  silk,  forming  the  background.  Wefts:  Light 
purple,  dark  purple,  and  four  kinds  of  silver  threads,  form¬ 
ing  together  a  very  rich  effect:  (a)  round  thin  silver  wire; 

(b)  white  silk  thread  overspun  with  flat  silver  wire;  (c) 
flat  silver  wire;  (d)  double  twisted  silk  thread  overspun  by 
flat  silver  wire,  producing  chenille  effect.  Pattern :  Rich 
floating  silver  ribbons,  dividing  the  field  with  their  curved 
lines,  peony  and  other  fantastic  flower  branches,  as  in  fash¬ 
ion  since  the  end  of  the  seventeenth  century.  Above  the  rib¬ 
bons,  sketched  trees  and  roofs  of  Chinese  pavilions.  This 
weave  shows  the  mixture  of  heterogeneous  elements  in  a 
charming  decorative  harmony,  characterized  by  the  intro¬ 
duction  of  Chinese  motives  and  by  the  Chinese  tendency  to¬ 
ward  asymmetry — of  the  French  rococo  style  of  the  eight¬ 
eenth  century.  It  is  possible  that  this  weave  is  a  copy  of 
the  time  of  Napoleon  III.,  when  the  Lyons  weavers  pro¬ 
duced  excellent  copies  of  earlier  patterns. 

r  9"  x  2'  4". 

GOLD  AND  SILVER  BROCADE  (French ) .  About  1 750.  9 1  5 

Warp:  Purple,  forming  the  background.  Weft:  Purple, 
forming  the  background;  brocaded  wefts  (not  running 
through  the  entire  width  of  the  weave) — white,  three  blues, 
three  greens,  three  reds,  yellow,  three  golds,  three  silvers 
(flat  wire  overspun  and  twisted  overspun),  a  total  of  six¬ 
teen  different  brocaded  wefts.  Pattern  :  Floating  lace  ribbons 
with  naturalistic  flower  branches  and  conventionalized 
peony  branches  in  gold  and  silver.  Good  specimen  of  the 
naturalistic  style  of  the  Louis  XV.  period,  which  found  its 
best  expression  in  the  work  of  Philippe  de  la  Salle  of  Lyons. 

1'  S'A"  x  3'  6". 

lSee  No.  916. 


IQ2 

WOVEN  FABRICS 

916 

SILK  BROCADE  (French).  Early  XVIII.  Century. 

Part  of  a  chasuble.  Warp:  White  silk.  Weft:  White  and 
green  silk,  running  through  the  entire  width  of  the  weave, 
yellow,  pink  and  red  silk,  brocaded,  forming  flowers.  Pat¬ 
tern  :  Alternating  groups  of  half-naturalistic  flower  bou¬ 
quets  and  baroque  cartouches  formed  by  trees,  flowers,  and 
architectonic  motives ;  semi-naturalistic  style,  inspired  by 
the  contemporaneous  lace  patterns.2 

2'  5"  x  4'  0". 

IV.  PERSIA. 

91? 

SASH  OR  SCARF — RICH  GOLD  BROCADE  (Persia). 
XVII.  Century. 

The  two  ends  of  the  sash  are  decorated  with  a  row  of  shrubs 
with  red  flowers.  This  shrub,  originally  inspired  by  Chinese 
flower  patterns,  is  one  of  the  preferred  motives  of  Persian 
textiles  of  the  sixteenth  and  seventeenth  centuries.  The  main 
part  of  the  sash  formed  by  small  stripes  with  little  flower 
motives.  These  sashes  belong  to  the  finest  creations  of  Ori¬ 
ental  textile  art;  we  find  them  often  reproduced  in  Persian 
and  Indian  miniature  paintings  of  the  seventeenth  and 
eighteenth  centuries.  In  the  eighteenth  century  admirable 
copies  of  these  Persian  sashes  were  made  in  Poland.  These 
are  generally  signed  with  the  name  of  the  manufacturers : 
Paschalis,  Mazarski,  at  Slusch,  etc. 

oo 

1— 1 

VELVET  ON  GOLD  BROCADE  GROUND  (Persia). 
XVIII.  Century. 

The  pattern  is  formed  by  pink  cut  velvet.  The  background 
is  formed  by  the  yellow  warp,  a  thin  yellowish  weft,  and  a 
flat  metal  gold  wire  inserted  as  weft.  Pattern :  Curved  stems, 
with  conventionalized  rose  or  peony.  Similar  patterns  of 
somewhat  Chinese  inspiration  are  first  found  in  Persian 
velvets  and  brocades  of  the  sixteenth  century,  when  Chinese 
inspiration  and  material  prosperity  created  a  splendid 
Renaissance  of  art  under  the  rule  of  the  Sefevik  Shahs. 

sSee  No.  913. 

TEXTILES 


PERSIAN  BROCADE-SILK  AND  COTTON 
MIXED.  XVIII.  Century. 

Technically  very  interesting  piece.  It  is  not  a  piece  of  goods 
woven  by  the  yard,  but  woven  on  a  loom  just  of  the  size  it  is. 
A  selvage  of  white  cotton  thread  borders  it  on  all  four  sides. 
The  pattern  is  produced  by  warps  of  different  colors,  the 
white  weft  remaining  practically  invisible.  Pattern :  Striped 
composition;  central  stripe  of  lozenge  pattern  with  the 
cypress  motive,  green  on  white  ground.  Other  stripes  with 
pink  roses  and  green  leaves  on  white  background  and  with 
iris  and  roses  outlined  in  blue  on  yellow  background.  Color 
composition  vivified  by  plain  blue  and  amaranth  red  silk 
stripes. 

2'  10"  x  4'  7". 


VELVET.  ROWS  OF  NAKED  FIGURES  SITTING 
BETWEEN  CYPRESS  TREES  (Persia).  XVIII.-XIX. 
Century.  Design  executed  in  blue,  red,  yellow,  and  green 
outline  on  white  background. 


920 


Such  velvets,  with  representations  of  human  figures,  belong 
to  the  finest  products  of  the  Persian  weaver’s  art  of  the 
sixteenth  and  seventeenth  centuries.  This  tradition  has  been 
continued  up  to  recent  times.  Weaves  with  the  representa¬ 
tion  of  human  figures  have  never  been  executed  in  Turkey 
(religious  prejudice  of  the  Sunnita  Mohammedans).3 

LARGE  BROCADE  COVER,  GOLD  GROUND  (Per¬ 
sia).  About  1800. 

In  the  centre,  an  all-over  pattern,  of  two  peacocks  in  opposite 
symmetrical  representation  surrounded  by  rose  branches 
with  buds  and  flowers.  Red  and  green  and  other  shades  on 
gold  ground.  On  the  upper  and  lower  edges  oval  flower- 
shrubs  and  small  vases  alternating.  All  these  motives  char¬ 
acteristic  of  the  Persian  style  of  the  sixteenth  and  seven¬ 
teenth  centuries  and  later.  This  piece  is  signed  and  dated 
1230,  after  Hedjra,  about  1800  A.  D. 

*See  F.  R.  Martin,  Figurale  Samte. 


922 


923 


PERSIAN  GOLD  BROCADE.  XVIII.-XIX.  Century. 
Same  type  of  weave  as  No.  924,  the  gold  on  the  yellow  silk 
wefts  being  preserved.  Patterns :  Small  white  ogives  with 
small  rose  bouquets  on  gold  ground.  Typical  late  Persian 
pattern.4 
r  2 y2"  x  r  iy2". 

PERSIAN  BROCADE.  XVIII.-XIX.  Century. 

Warp:  Dark-blue  silk  forming  the  background.  Wefts: 
yellow,  white,  and  pink  silk  forming  the  pattern.  Pattern 
(Palmette  design):  So-called  Cashmere  pattern,  which  is  as 
frequent  in  Persian  as  in  Indian  art,  and  which  is  derived 
from  the  cypress  motive  of  earlier  Persian  textiles.  Between 
the  rows  of  Cashmere  motives  an  all-over  pattern  of  stems 
with  small  star-shaped  flowers. 

6'  4"  x  r  8". 


924 


925 


PERSIAN  BROCADE.  XVIII.-XIX.  Century. 

Warp:  Buff  and  pink  threads.  Wefts:  Yellow  silk,  for¬ 
merly  overspun  with  metal  wire,  forming  the  background, 
dark  green,  pink,  blue,  and  white  silk  forming  the  pattern. 
Small  all-over  pattern,  very  similar  to  No.  922  ;  small  ogives 
with  little  flower  bouquet  inside. 

2'  0"  x  2'  3". 

SILK  BROCADE  WITH  SMALL  FLOWER  PAT¬ 
TERN  (Persia).  XVIII.-XIX.  Century. 

Warp:  Dark-blue  silk  forming  the  background.  Wefts: 
Pink,  green,  and  yellow  forming  the  pattern  of  sym¬ 
metrically  designed  rows  of  small  flower  stems. 

V  5"  x  1'  6". 


926 


GOLD  BROCADE  (Persia).  XVIII.-XIX.  Century. 


Warp:  Yellow  silk  forming  the  background,  together  with 
a  weft  of  thin  gold  thread.  The  pattern  is  formed  by  white, 
blue,  green,  and  red  wefts.  Pattern:  Cashmere  palmettes, 
formed  by  a  bouquet  of  flowers  in  a  white  vase.  This  vase 
motive  is  very  frequent  in  Oriental  art.  It  is  frequently 

4See  No.  24. 


TEXTILES 

' 

found  on  the  Kerman  rugs  of  the  sixteenth  century.  This 
brocade  is  bordered  by  fragments  of  two  other  brocades ; 
one  a  dark-blue  ground  with  small  all-over  pattern  of 
flowers,  the  other  a  gold  brocade  with  small  flower  bou¬ 
quets  of  excellent  quality. 

2'  9"  x  2'  9". 

KAFTAN  SILK  BROCADE  (Persia).  XIX.  Century. 

The  cut  of  the  garment  is  the  usual  cut  of  garments  of  the 
nearer  East.  The  brocade  composed  in  small  olive,  mauve, 
blue,  white,  yellow,  and  pink  stripes  (warps  of  different 
colors)  with  small  floral  patterns,  partly  produced  by  a 
satin  effect  of  the  warp,  partly  by  wefts  of  different  colors. 
Influence  of  the  small  Louis  XVI.  patterns. 

927 

SILK  WEAVE  (Persia).  XIX.  Century. 

Technique :  White  warp  forming  the  background ;  wefts  of 
different  colors  forming  the  pattern.  Pattern :  Figure  sub¬ 
jects  composed  in  stripes — a  man  standing  between  flower 
bouquets,  repeated  group  of  three  persons  with  stems, 
leaves  and  birds  as  background. 

928 

I  PEPvSIAN  SILK  SASH.  Modern. 

I  Warp :  White,  blue,  and  yellow  forming  the  pattern,  the 
blue  weft  generally  invisible.  Small  plain  blue  stripes  alter¬ 
nating  with  stripes  having  small  running  floral  stem  pat¬ 
tern,  blue  on  white  or  white  on  blue.  The  warps  are  knotted 
on  both  ends  into  a  complicated  system  of  fringes. 

2'  7"  x  9'  2". 

929 

V.  TURKEY. 

SO-CALLED  SCUTARI  DIVAN  CUSHION  (Turkey). 
XVIII.-XIX.  Century. 

Warp  of  thin  white  linen  thread.  Pattern  in  red  and  green, 
brown  and  yellow  velvet.  The  wefts  consist  of  a  very 
thick  linen  weft,  invisible  but  giving  body  to  the  weave,  and 
overspun  silver  thread,  which  has  practically  completely 

93° 

ig6 

— — — — - — - — 

WOVEN  FABRICS 

been  worn  out.  Pattern:  In  the  centre  a  group  of  Turkish 
carnations  and  tulips,  surrounded  by  a  frame  in  Turkish 
rococo  style.  Outer  border  of  floral  motives.  This  velvet 
shows  the  mixture  of  Turkish  and  European  motives,  char¬ 
acteristic  of  Turkish  art  during  the  eighteenth  century, 
where  this  mixture  produces  in  the  Levant  a  not  very  pure 
but  charming  style.  Wood-carvings  and  furniture  in  the 
same  style  exist  in  considerable  quantity. 

VI.  INDIA. 

93 1 

RICH  INDIAN  CLOTH  OF  GOLD.  XVIII.  Century. 
Warp  of  thin  white  silk  thread.  Weft:  White  silk  and 
overspun  gold  thread.  Pattern :  Small  all-over  pattern  of 
lozenges  with  conventionalized  floral  motive  in  the  centre. 

93  2 

SARI  (woman’s  garment)  (India).  XVIII.-XIX.  Cen¬ 
tury. 

The  centre  of  the  garment,  plain  silk  weave,  red  warp,  red 
weft.  On  the  border  stripes,  the  warp  is  overspun  gold 
thread,  the  weft  red  silk,  forming  a  small  diaper  pattern. 
Roth  ends  of  the  weave  are  richly  decorated  with  flowered 
shrubs,  having  pink  and  white  flowers  on  gold  ground,  ex¬ 
ecuted  in  tapestry  technique  on  red  silk  warp.  Tapestry 
technique  in  silk  of  similar  fine  quality  was  also  often  em¬ 
ployed  in  China  for  garments.  In  the  two  lower  corners  im¬ 
prints  of  stamps  in  Persian  writing. 

932- A 

SARI  (woman’s  garment)  (India).  XVIII.-XIX.  Cen¬ 
tury. 

Gold  brocade  on  red  and  green  ground,  somewhat  similar 
in  technique  to  the  foregoing. 

932-B 

SARI  (woman’s  garment)  (India).  XVIII.-XIX.  Cen¬ 
tury. 

932_C 

SARI  (woman’s  garment)  (India).  Modern. 

Similar  in  technique  and  design  to  No.  1004.  Current  type 
of  embroidery. 

TEXTILES 


197 


INDIAN  SKIRT,  GOLD  BROCADE  (India).  XIX. 
Century. 

Red  warp  and  weft  with  rich  gold  brocading,  forming  an 
all-over  pattern  of  golden  circles. 

VII.  CHINA. 

COVERLET  OF  CHINESE  SILK  BROCADE.  XVIII.- 
XIX.  Century. 

Red  silk  warp  forming  the  background.  Blue,  green,  and 
white  wefts  forming  the  pattern.  Pattern  of  all-over  spiral 
scrolls,  with  huge  peonies  and  chrysanthemums  of  fine  de- 
sign.  This  type  of  pattern  is  very  frequent  in  Chinese  art 
since  the  fourteenth  century.  We  find  it  as  well  on  weaves 
as  on  rugs,  cloisonne  enamels,  etc.  On  both  ends,  small 
borders,  with  dragons  chasing  the  sacred  jewel,  and 
Chinese  meander  border. 

CHINESE  EMBROIDERY  ON  SILK  BROCADE. 
XVIII.  Century. 

COVERLET  OF  CHINESE  BROCADE.  XVIII.-XIX. 
Century. 

Red  warp  forming  the  background.  Flat  paper  silver  and 
silk  wefts  of  different  colors  forming  the  background.  Pat¬ 
tern  :  A  repeated  all-over  pattern  of  the  fight  between 
dragon  and  phoenix,  the  classic  Chinese  motive,  which  we 
also  meet  so  often  in  the  art  of  the  nearer  East.  Border  : 
Meander  and  stripes,  with  dragon  chasing  the  sacred  jewel. 
Repeated  all-over  pattern  of  a  group  of  three  children 
playing  under  a  prune-tree  (bats  and  cloud  design). 

CHINESE  GARMENT  OF  HEAVY  BROCADE. 
XVIII.-XIX.  Century. 

Warp:  Dark  mauve  forming  the  background;  weft  of  gold 
and  different  colors  forming  the  pattern.  Repeated  pattern 
of  prune  branches  intermingled  with  peonies  and  chrysan¬ 
themums. 


933 


93  4 


934”A 


935 


93  6 


ig8 

WOVEN  FABRICS 

937 

CHINESE  GOLD  BROCADE.  Modern. 

Yellow  warp  forming  the  background.  Wefts  of  over-spun 
gold  thread  and  silks  of  different  colors  forming  the  pat¬ 
tern.  Rows  of  medallions  containing  the  Chinese  dragon 
alternating  with  cloud  pattern. 

938 

CHINESE  GOLD  BROCADE.  Modern. 

Warp  and  weft  of  yellow  silk;  second  warp  of  over-spun 
gold  thread.  Pattern :  On  a  background  of  meander  fret¬ 
work,  all-over  pattern  of  medallions,  formed  by  Chinese 
characters  of  good  omen. 

938-A 

VELVET  ON  GOLD  AND  SILK  BROCADE  (China). 
XIX.  Century. 

The  Imperial  five-clawed  Dragon  design  on  a  background 
of  Imperial  yellow,  denoting  that  this  piece  was  made  for 
the  Emperor.  It  came  out  of  the  Emperor’s  Palace  in  Pekin 
during  the  Boxer  uprising. 

938-B 

COAT  OF  RED  VELVET  (China).  Modern. 

938-C 

COAT  OF  BLUE  VELVET  (China).  Modern. 

VIII.  JAPAN. 

939 

JAPANESE  BUDDHIST  PRIEST’S  ROBE,  MADE 
OF  BROCADE,  WHICH,  AFTER  THE  RITUAL, 
MUST  BE  PATCHED  TOGETHER  OF  DIFFER¬ 
ENT  FRAGMENTS  (Japan).  XVIII.-XIX.  Century. 
Technique  of  the  brocade:  Warp  of  reddish  silk  forming 
the  background.  Weft :  White,  blue,  yellow,  and  green 
forming  the  pattern.  Pattern :  Circular  medallions  formed 
by  a  phoenix  in  combination  with  elegant  scroll-work,  in 
which  European  influence  is  traceable. 

940 

JAPANESE  DAMASK.  XIX.  Century. 

Warp  and  weft  in  stripes  of  different  colors,  the  inter¬ 
sections  of  which  form  squares  of  different  colors,  in  which 
the  pattern  is  formed  alternately  by  the  warp  or  by  the 

TEXTILES 


weft  in  twill  binding.  Pattern :  Squares  with  different  con¬ 
ventional  floral  motives. 

CLOTH  OF  GOLD  (Japan).  XIX.  Century. 

Plain  cloth  of  gold.  The  gold  employed  is  the  paper  gold, 
strips  of  gilt  paper  or  thin  leather  used  as  weft.  With  very 
rare  exceptions,  this  paper  gold  has  never  been  used  in  the 
Western  countries,  and  is  characteristic  of  Chinese  and  Jap¬ 
anese  weaves. 

JAPANESE  GOLD  BROCADE.  Modern. 

Thin  yellow  warp,  scarcely  visible.  Wefts :  Strips  of  Jap¬ 
anese  paper  gold  forming  the  background,  and  of  green 
and  pink  silk  forming  the  pattern  of  curved  stems,  with 
conventionalized  flowers  and  birds. 

JAPANESE  COAT  OF  TAPESTRY  SATIN.  Modern. 

COVERLET  OF  JAPANESE  SILK  BROCADE. 
XVIII.-XIX.  Century. 

IX.  BAVARIA. 

SILK  SCARF  WITH  GOLD  FRINGE  (Bavaria). 
XVIII.  Century. 

X.  RUSSIA. 

RECTANGULAR  TABLE-CLOTH  (Russia).  XVIII. 
Century. 

Gold  and  silver  brocade,  somewhat  similar  technically  to 
No.  912.  Pattern  of  conventionalized  flowers. 


B. 

TAPESTRY  WEAVES 


CHINESE. 

CHINESE  TAPESTRY,  REPRESENTING  THE 
EIGHT  IMMORTALS.  Early  Ching  Lung. 

This  piece  is  said  to  come  from  the  Temple  of  Agriculture 


A?? 


94I 


942 

942-A 

942-B 

942-C 

942-D 


943 


200 

TAPESTRY  WEAVES 

in  Pekin.  Technique:  S^lk  tapestry  weave,  the  details  of 
which  are  executed  in  painting.  Pattern :  The  eight  Chinese 
immortals  trying  to  recover  from  the  sea  one  of  their 
symbols  which  has  been  lost.  They  try  to  dry  up  the 
ocean.  One  is  making  fire  from  a  gourd,  another  throws 
magic  flowers  from  a  basket,  which  are  supposed  to  absorb 
the  water,  and  another  plays  on  his  enchanted  flute. 

943“  A 

CHINESE  TAPESTRY  PANEL.  Late  XVII.  Century. 

In  technique  similar  to  the  foregoing,  but  inferior  to  it  in 
quality.  The  three  following  panels  belong  to  the  same 
series  as  this. 

943"B 

CHINESE  TAPESTRY  PANEL.  Late  XVII.  Century. 

943-C 

CHINESE  TAPESTRY  PANEL.  Late  XVII.  Century. 

943-D 

CHINESE  TAPESTRY  PANEL.  Late  XVII.  Century. 

944 

CHINESE  GARMENT,  TAPESTRY  WOVEN.  XIX. 
Century. 

Tapestry  woven  medallions,  with  cranes,  peaches,  cloud- 
work  and  numerous  flowers  of  vivid  colors  (all  the  details 
painted)  on  dark  mauve  background. 

1  945 

CHINESE  ROBE.  XIX.  Century. 

Silk  tapestry  woven,  the  ends  of  the  sleeves  embroidered, 
some  details  in  the  tapestry  painted.  Pattern :  Butterflies 
and  flower  branches  on  delicate  mauve  background. 

!  946 

CHINESE  ROBE,  TAPESTRY  WOVEN.  XIX.  Cen¬ 
tury. 

Very  rich  and  heavy  tapestry  weave,  no  painting.  In  certain 
details  over-spun  gold  thread  is  employed.  Pattern :  Above 
the  waves  of  the  sea,  dragons  (with  the  imperial  five  claws) 
chasing  the  sacred  jewel.  Background:  Prune-colored,  with 
bats  and  cloud  pattern  (symbols  of  happiness  and  longev¬ 
ity)  and  some  of  the  “precious  objects.” 

TEXTILES 

201 

CHINESE  ROBE,  TAPESTRY  WOVEN.  XIX.  Cen¬ 
tury. 

Pattern:  Dragons  above  the  sea  chasing  the  sacred  jewel. 
Background  of  bats  and  cloud-work. 

947 

CHINESE  GARMENT,  SILK  TAPESTRY  WOVEN. 
XIX.  Century. 

Patterns  like  No.  947. 

vo 

4- 

00 

CHINESE  ROBE,  TAPESTRY  WOVEN.  XIX.  Cen¬ 
tury. 

Technique:  Identical  with  that  of  certain  Indian  Saris.5 
The  background  over-spun  gold  thread,  gauze-like,  inter¬ 
laced  between  the  warps.  The  pattern:  Silk  tapestry,  cer¬ 
tain  details  painted.  Similar  to  No.  946.  Dragons  above 
the  sea  chasing  the  sacred  jewel.  Chinese  clouds,  bats,  and 
some  of  the  “precious  objects.” 

949 

C. 

CASHMERE  SHAWLS 

INDIA. 

INDIAN  CASHMERE  SHAWL.  About  1800. 

Technique :  White  woolen  warp,  in  which  are  interlaced 
with  twill  binding  wefts  of  different  colors,  none  of  them 
running  through  the  entire  width  of  the  weave.  Pattern: 
Floral  curved  stems,  forming  ogives,  in  the  middle  of 
which  are  small  floral  motives,  as  we  know  them  also  from 
the  Persian  brocades  of  the  same  period.  The  flowers  and 
stems  in  lively  colors  on  white  background. 

0 

Vo 

O-N 

5See  No.  9 32. 

202 

CASHMERE  SHAWLS 

951 

INDIA  CASHMERE  SHAWL.  Early  XIX.  Century. 

The  shawl  is  patched  together  of  nine  rectangular  pieces 
plus  the  two  upper  and  lower  borders.  The  warps  are  white. 
Pattern:  All-over  pattern  of  the  so-called  “Cashmere  pal- 
mette,”  surrounded  by  flowering  stems  covering  the  white 
ground.  In  one  corner,  embroidered  in  yellow  silk,  is  a 
cartouche  with  Persian  inscription. 

3'  4"  x  8'  11". 

95 1 -A 

CASHMERE  SHAWL  (India).  XVIII.-XIX.  Century. 
Technically,  this  shawl  belongs  to  the  class  described  un¬ 
der  No.  950. 

952 

FRAGMENT  OF  A  CASHMERE  SHAWL  (India). 
Early  XIX.  Century. 

The  warps  are  crimson;  the  pattern  formed  by  extremely 
fine  “tapestry  brocading.”  The  pattern  shows  an  all-over 
design  formed  by  symmetrical  dark  stems,  in  the  middle  of 
which  Cashmere  palmettes  and  other  floral  motives  are 
found.  The  color  of  this  fragment,  turquoise  blue  and 
crimson,  is  particularly  fine. 

1'  6"  x  2'  3". 

953 

LARGE  CASHMERE  SHAWL  OF  VERY  FINE 
QUALITY  (India).  Early  XIX.  Century. 

This  shawl  is  patched  together  of  a  considerable  number 
of  rectangular  and  triangular  pieces.  In  the  centre,  em¬ 
broidered  on  a  piece  of  woolen  cloth  (added  later),  is  a 
Persian  inscription.  The  pattern  of  this  centre  shows  curved 
ribbons  with  floral  decoration  and  rich  Indian  flowers  in 
between.  The  border  of  the  shawl  also  embroidered.  Among 
the  rectangular  and  triangular  pieces  forming  the  body  of 
the  shawl  (all  executed  on  red  warps  in  the  t)rpical  tech¬ 
nique)  we  can  distinguish  two  patterns  which  cover  irregu¬ 
larly  the  field  of  the  weave,  showing  the  typical  huge  inter¬ 
laced  cashmere  palmettes. 

TEXTILES 

203 

D. 

PRINTED  AND  DYED  FABRICS 

I.  INDIAN  BLOCK-PRINTS. 

NORTH  INDIAN  BLOCK-PRINTED  AND  OILED 
COTTON  CLOTH.  XIX.  Century. 

In  the  border  of  this  fabric  the  successive  impressions  of 
the  wood  blocks  forming  the  pattern  are  easily  discernible. 
The  block  outline  of  the  design  is  first  printed,  the  colors 
(blue,  red,  and  yellow)  are  afterward  inserted.  The  border 
of  the  cloth  is  formed  by  a  series  of  medallions  containing 
the  same  inscription.  The  ground  of  the  middle  is  covered 
by  a  repeated  pattern  of  a  branch  with  birds  and  fantastic 
flowers  (as  we  know  them  from  the  earlier  Indian  printed 
cloths),  and  in  the  centre  of  the  ground  is  a  small  medal¬ 
lion.  The  composition  of  this  cloth  follows  exactly  that  of 
the  earlier  Persian  rugs. 

3'  8"  x  6'  5". 

954 

NORTH  INDIAN  BLOCK-PRINTED  AND  OILED 
COTTON  CLOTH.  XIX.  Century. 

A  close  examination  of  the  cloth  shows  clearly  where  the 
different  impressions  of  the  block  meet.  Same  colors,  etc., 
as  No.  954.  Two  circular  motives,  probably  intended  as 
centres  of  tablecloths.  In  the  outside  Cashmere  motives. 
Different  circular  borders  with  floral  motives  in  Indian 
style. 

3'  7"  x  7'  0". 

955 

NORTH  INDIAN  BLOCK-PRINTED  COTTON 
CLOTH.  XIX.  Century. 

Block-prints  easily  discernible.  This  piece  has  been  fre¬ 
quently  washed ;  the  blue  has  practically  disappeared.  It  is 
consequently  not  indigo  dye,  dyed  in  the  vat,  which  would 
have  resisted.  The  red,  on  the  contrary,  has  resisted.  The 
composition  shows  a  central  field  and  an  upper  and  lower 

956 

PRINTED  AND  DYED  FABRICS 


identical  border.  The  central  field  shows  an  all-over  pat¬ 
tern  of  small  flowers  with  cypress-trees  in  the  corners.  The 
borders  show  a  row  of  huge  Cashmere  palmettes,  composed 
of  fantastic  flowers. 

4'  9"  x  6'  10". 


957 


958 

959 


NORTH  INDIAN  BLOCK-PRINTED  COTTON 
CLOTH.  XIX.  Century. 

Technique  and  composition  similar  to  No.  956.  On  the 
upper  and  lower  ends  is  the  impression  of  a  cartouche  with 
Persian  inscription. 

4'  5"  x  8'  6". 

NORTH  INDIAN  BLOCK-PRINTED  COTTON. 

XIX.  Century. 

Same  type  as  No.  956.  On  both  ends,  label  with  inscription. 

4'  8"  x  10'  0". 

NORTH  INDIAN  BLOCK-PRINTED  COTTON, 
PRINTED  IN  BLACK  AND  RED.  XVIII.-XIX.  Cen¬ 
tury. 

The  blue  and  yellow  shades  are  practically  washed  out. 
Composition  of  a  prayer-rug.  On  the  upper  part,  the 
mihrab  (prayer  niche)  is  supported,  not  by  two  columns, 
but  by  two  cypress-trees,  standing  in  flower  vases  (as  some¬ 
times  found  in  Indian  rugs).  In  the  centre  of  the  composi¬ 
tion  is  a  cypress-tree,  standing  in  a  flower  vase.  The  back¬ 
ground  is  of  scroll-work,  with  conventionalized  Indian 
flowers,  peacocks,  lions  chasing  gazelles,  etc.  The  border  | 
is  of  undulated  stems  with  Indian  flowers. 

4'  6"  x  5'  4". 

NORTH  INDIAN  BLOCK-PRINTED  AND  WAXED 
COTTON  CLOTH.  XIX.  Century. 

Composition  of  a  prayer-rug,  similar  to  No.  959.  The  flower 
decoration  made  of  small  all-over  patterns  of  naturalistic 
flowers.  Also,  in  this  piece  the  cypress-tree  (symbol  of  im¬ 
mortality)  and  the  vase  (Indian  symbol  of  plenty,  the  ves¬ 
sel  of  Lakshmi). 

3'  0"  x  4’  2". 


TEXTILES 

20S 

II.  FABRICS  WITH  TIED  AND  DYED  WARPS 

(BORNEO-PHILIPPINES  ) 

SHAWL  WITH  STRIPES  OF  ANIMAL  DECORA¬ 
TION  (Borneo).  XIX.  Century. 

This  piece  was  purchased  in  Peru.  Technique:  The  pattern 
is  produced  by  tying  and  dying  the  warps  before  weaving, 
as  described  at  Nos.  964-965.  The  wefts  invisible,  the  end 
tapestry  woven,  ending  in  fringes.  Pattern:  Dark-blue 
background  interrupted  by  red  stripes,  with  groups  of 
animals  (donkeys  and  roosters  in  symmetrical  represen¬ 
tation).  Such  fabrics,  produced  in  the  Philippines,  in  Bor¬ 
neo,  and  other  Malayan  islands,  where  this  technique  has 
been  imported  from  India,  are  not  rarely  found  in  Mexico, 
Peru,  and  other  countries  of  the  American  West  Coast,  an 
interesting  proof  of  the  direct  trade  relations  between  the 
Spanish  colonies  of  the  Far  East  and  America. 

961 

TWO  SHAWLS,  SILK  WOVEN  (Philippines).  XIX. 
Century. 

The  weft  of  this  weave  is  not  visible,  the  pattern  is  formed 
!  bv  the  warps  grouped  in  stripes  of  different  colors.  Certain 
stripes  of  the  warp  are  dyed  (so  as  to  form  small  patterns) 
in  the  tying  and  dyeing  technique.  This  technique  came 
from  India  to  the  Malayan  islands  (Philippines,  Borneo, 
etc.).  Such  shawls  are  frequently  found  in  Mexico  and  as 
heirlooms  in  old  California  families.6  They  were  exported 
from  the  Spanish  Philippines  to  Spanish  Mexico  in  the 
i  Pacific  trade,  entering  Mexico  by  Mazatlan  and  Man¬ 
zanillo.  Not  only  Philippine  merchandise,  but  also  Chinese 
goods  (porcelain,  cloisonne  enamel,  etc.)  were  imported  by 
this  route. 

962- 

963 

THREE  “SARONG”  GARMENTS,  COTTON 

WEAVE  (Philippines).  Modern. 

!  Manufactured  at  Lanas,  according  to  statement  of  the 

964- 

966 

*See  an  interesting  specimen  in  the  California  History  Section  in  the  Oak¬ 
land  Museum. 

I 


206 

NEEDLE  WORK 

Philippine  Government.  The  pattern  consists  of  parallel 
stripes  of  very  vivid  colors  of  Oriental  harmonies.  Tech¬ 
nically,  these  weaves  are  very  interesting,  as  the  weft  is 
entirely  hidden  and  only  the  warp  visible.  Some  of  the 
warp  stripes  have  a  pattern,  which  gives  the  impression  of 
warp  print  (so-called  “Dresden”  print).  In  these  Philippine 
weaves  this  pattern  is  produced  by  the  tying  and  dyeing 
process ;  all  parts  of  the  warp,  which  have  to  remain  un¬ 
dyed,  white,  are  tied  up  with  a  string,  which  prevents 
action  of  the  dye  on  these  parts.  Thus  partially  protected, 
the  warp  threads  are  dyed.  This  process  can  be  made  with 
one  or  several  colors.  After  the  dying  the  warps  are  again 
put  on  the  loom  in  the  same  position  as  before  the  dyeing 
and  show  now  the  pattern  formed  by  the  tying  and  dyeing 
process.7  This  technique  is  known  in  India  and  came  from 
there  to  the  Malayan  archipelago. 

III.  RESIST  DYES.  JAPAN. 

\  967 

JAPANESE  KIMONO.  Modern. 

A  landscape  with  a  house  and  blossoming  prune-trees  in 
resist  dye  on  silk  crepe,  white  on  mauve  background.  The 
details  executed  in  embroidery. 

E. 

NEEDLE  WORK 

I.  SPAIN. 

968 

VERY  RICH  APPLIQUE  EMBROIDERY  (Spanish). 
Middle  XVI.  Century.  Probably  fragments  of  a  dalmatica 
or  an  antependium. 

Satin  of  different  colors  appliqued  on  red  velvet,  bordered 
by  couched  gold  thread.  Technically  remarkable;  the 

, 

''See  the  same  technique  in  Nos.  961,  962,  963. 

j 

TEXTILES 

207 

angels’  heads,  in  which  short  stitches  of  various  shades 
give  the  color  as  well  as  of  the  modeling  of  flesh,  a  tech¬ 
nique  rather  imitative  of  painting,  reveal  in  the  authors  of 
this  work  more  skill  than  artistic  refinement.  The  pattern 
shows  in  the  centre,  surrounded  by  a  baroque  cartouche,  the 

I.  H.  S.  (Iota,  Eta,  Sigma),  the  first  three  Greek  letters  of 
the  name  of  Jesus.  Above  and  below  rich  Renaissance 
acanthus  scroll-work  with  cranes  and  angel  heads.  Similar 
patterns  are  frequently  found  in  Italian  and  Spanish 
damasks  and  brocades  of  the  same  period. 

VERY  RICH  APPLIQUE  EMBROIDERY  (Spanish 
or  Italian )  Middle  XVI.  Century.  Same  type  of  work  as 
No.  968. 

Yellow,  white,  and  red  satin  applique  on  green  velvet, 
fixed  by  crochet  silk  and  gold  thread.  Renaissance  pattern 
of  flower-vases  and  rich  acanthus  scroll-work,  as  found  in 
the  weaves  of  the  same  period. 

969 

LARGE  COVERLET  WITH  RICH  EMBROIDERY 

( Spanish ,  Far  Eastern  colonies ,  probably  Philippines ). 

XVII.  Century. 

Embroidery  in  laid-work,  satin  and  darning  stitches  in  silk 
of  many  colors.  The  pattern  shows  a  strange  mixture  of 
Chinese  motives  (the  flower-pots,  flower  details,  and  phoe¬ 
nixes)  and  of  elements  of  Spanish  baroque  (the  imperial 
eagle,  angels,  details  of  ornamentation).  \  ery  good  speci¬ 
men. 

970 

EMBROIDERED  CHASUBLE  (Spain).  XVII.  Century. 
Very  rich  and  heavy  embroidery  in  gold  relief  work  and 
a  great  variety  of  couched  gold  embroidery.  The  flower 
patterns  executed  in  very  rich  embroidery  of  colored  silk, 
in  satin  and  other  stitches.  Background,  red  silk  damask. 
Rich  late  seventeenth-century  baroque  pattern.  In  the  cen¬ 
tre  a  saint  (bishop)  holding  the  model  of  a  church,  in  a 
frame  of  heavy  golden  baroque  cartouches  and  scroll  mo¬ 
tives.  The  half-naturalistic  flowers  intermingled  with  the 

97 1 

208 

NEEDLE  WORK 

gold  embroidery,  in  the  typical  style  of  the  late  seventeenth 
century. 

97  i  "A 

EMBROIDERED  STOLE  (Spain).  XVII.  Century. 

In  design  and  workmanship  this  piece  is  executed  in  ex¬ 
actly  the  same  manner  as  the  foregoing,  to  which  it  belongs. 

972 

SQUARE  PANEL  OF  EMBROIDERY  (Probably  Span¬ 
ish).  XVII.  Century. 

Silk  embroidery  on  canvas ;  conventionalized  flowers  in 
lozenges. 

973 

ALTAR  COVER,  OR  ANTEPENDIUM,  EMBROID¬ 
ERED  (Spain).  Early  XVIII.  Century. 

Very  rich  embroidery  in  couched  gold  and  silk  of  many 
colors,  mainly  in  satin  stitch  on  white,  “gros  de  Tours”  silk, 
interwoven  with  thin  metal  thread.  The  radiant  centre  disc 
embroidered  in  flat  gold  wire  with  the  letters  I.  H.  S. 
(Jesus)  ;  couched  gold  border  with  repeated  silk-embroidered 
pattern  of  half-naturalistic  flowers. 

973-A 

ALTAR-CLOTH,  OR  ANTEPENDIUM  (Spain).  XVL- 
XVII.  Century. 

Rich  applique  embroidery  in  gold  on  red  silk.  Pattern  com¬ 
posed  of  semi-naturalistic  flower  design,  in  which  the  chief 
motive  is  the  carnation  so  frequently  employed  in  Spanish 
needlework.  This  piece  is  a  fine  example  of  co-ordinated 
design,  executed  with  superb  craftsmanship,  representative 
of  the  highest  development  of  this  art  in  Spain. 

974 

VERY  RICH  EMBROIDERY  (Spain).  Early  XVIII. 
Century. 

Couched  gold  thread  and  silk  embroidery,  mainly  in  satin 
stitch,  showing  remarkable  realism  in  the  execution  of  the 
flowers.  Two  long  strips  of  embroidery  on  white  silk  weave, 
rococo  cartouches  in  heavy  gold  embroidery,  and  curved 
stems  decorated  with  various  flowers  (iris,  roses,  tulips, 

Altar-Cloth ,  or  Ante pendium 
Spain;  XVII.  Century 


TEXTILES 

20q 

daffodils,  etc.)  ;  in  the  centre  a  fountain  with  two  dolphins, 
ostriches  in  very  realistic  execution,  and  the  cornucopise. 

HUGE  EMBROIDERED  COVERLET  ( Spanish  or 

975 

Portuguese).  XVII.-XVIII.  Century. 

Rich  silk  embroidery  on  linen  cloth  in  herringbone  and 
darning  stitches.  Pattern  of  repeated  conventionalized 
flowers  forming  rosettes.  Particularly  remarkable  is  the 
imperial  eagle,  which  is  repeated  several  times  in  the  pat¬ 
tern. 

FRAGMENT  OF  EMBROIDERED  SLEEVE  ( Italy  or 

976 

Spain).  Middle  XVIII.  Century. 

Heavy  couched  gold  and  silk  embroidery  in  satin  stitch. 
Gold  cartouches  and  floral  motives. 

EMBROIDERED  CHASUBLE  (Spain).  XVIII.  Cern 

977  i 

tury. 

Very  rich  embroidery  in  couched  gold  and  silk  of  many 
colors,  in  satin  and  other  stitches,  on  white  “gros  de  Tours, 
interwoven  with  silver  metal  threads.  Rich  eighteenth- 
century  rococo  pattern ;  baroque  volutes  and  cartouches  in 
rich  gold  embroidery,  surrounded  by  half-naturalistic 
flowers.  Typical  example  of  Spanish  embroidery  of  the 
eighteenth  century. 

ALTAR-CLOTH,  OR  ANTEPENDIUM  (Spain). 

977“A 

XVII.  Century. 

Richly  embroidered  in  silk  and  gold  on  a  silver  ground,  with 
heavy  gold  fringe.  Carnation,  iris,  and  tulip  motive  treated 
semi-naturalistically.  In  its  opulent  and  ornate  design  and 
in  its  lavish  use  of  gold,  this  heavily  embroidered  piece  is 
a  luxuriant  expression  of  the  power  and  wealth  and  posi¬ 
tion  of  the  Church  in  Spain  in  the  seventeenth  century. 

II.  SICILY. 

VERY  FINE  EMBROIDERY  (Sicily).  XVII.  Century. 

978 

Embroidery  in  green,  red,  and  buff  silk  on  canvas.  Geo- 

»  i 

210 

NEEDLE  WORK 

metrical  pattern,  intermingled  with  conventionalized  ani¬ 
mals  (peacock  pattern). 

III.  EASTERN  MEDITERRANEAN. 

(Rhodes,  Greek  Islands ) 

979 

VERY  FINE  EMBROIDERY  SAMPLER  (Eastern 
Mediterranean,  probably  Rhodes).  XVI.-XVII.  Century. 

This  sampler  in  silk  embroidery  on  linen  shows  a  great 
variety  of  embroidery  stitches  and  patterns.  In  the  patterns 
the  mixture  of  Italian  Renaissance  motives  (stripes  with 
acanthus  pattern)  and  of  Oriental  motives  (stripes  with  j 
cypress  and  flower  motives)  is  very  remarkable. 

980 

TABLE  COVER,  EMBROIDERED  LINEN  (Greek 
Islands).  XVIII.  Century. 

The  centre  of  the  cloth  is  surrounded  by  a  fringe  with  the 
repeated  pattern  of  two  peacocks  symmetrically  standing 
on  "both  sides  of  a  vase  with  flowers,  executed  in  silk  em¬ 
broidery  in  vivid  colors. 

981 

SLEEVE  OF  AN  EMBROIDERED  GARMENT 
(Island  of  Rhodes).  XVIII.-XIX.  Century. 

The  body  of  the  garment  of  thin  crepe  embroidered  with  a 
Turkish  flower  pattern  (blue  hyacinth).  On  the  edge  typ¬ 
ical  lace  trimming  executed  in  colored  silk. 

98  i-A 

BROCADE  BODICE  (Greece).  Modern.  Gold-embroid¬ 
ered  on  brocade. 

981-B 

BROCADE  DRESS  (Greece).  Modern. 

Silk  and  gold  embroidered  on  brocade. 

IV.  BALKAN  STATES.  BULGARIAN  PEASANT 
ART. 

982- 

983 

UPPER  PARTS  OF  TWO  SHIRTS  (Bulgarian  peas¬ 
ant  art).  XIX.  Century. 

Plain  hand-woven  linen,  heavily  embroidered  with  con- 

TEXTILES 

211 

ventionalized  floral  pattern  executed  in  woolen  thread  in 
very  vivid  colors;  gold  thread  and  metal  discs  enrich  the 
decoration. 

SHIRT  IN  HEAVY  LINEN,  SILK  EMBROIDERED 

( Balkan ,  probably  Bulgarian  peasant  art).  XIX.  Century. 
Silk  embroidery  forming  striped  ornaments  of  geometrical 
design  in  vivid  colors. 

984 

TWO  PIECES  OF  EMBROIDERY,  RED  LINEN 
AND  GOLD  THREAD  ON  WHITE  LINEN  (Balkan 
peasant  art ,  probably  Bulgarian).  XIX.  Century. 

985- 

986 

SCARF  OF  WHITE  LINEN,  SILK  EMBROIDERED 
ON  BOTH  ENDS  (Bulgarian).  XIX.  Century. 

987 

V.  TURKEY. 

EMBROIDERY  ON  FINE  LINEN  GAUZE  (Turkey). 
XVIII.  Century. 

On  both  ends  fringe  of  Turkish  flowers  embroidered  in  silk 
and  metal  thread. 

00 

00 

EMBROIDERED  SCARF  ( Jerusalem ,  Palestine).  Mod¬ 
ern. 

988-A 

EMBROIDERY  ON  FINE  LINEN  GAUZE  (Turkey). 
XVIII.  Century. 

On  both  ends  embroidery  in  silk  and  metal  threads  of  a 
repeated  flower  pattern  in  vivid  colors. 

989 

TOWEL,  LINEN  WEAVE,  PARTLY  LOOPED, 
WITH  EMBROIDERY  IN  SILK,  GOLD  AND  SIL¬ 
VER  THREAD,  CURVED  STEMS  WITH  FLOWERS. 
(Turkey).  XVIII.-XIX.  Century. 

99° 

EMBROIDERY  ON  LINEN,  SILK  AND  GOLD 
THREAD,  VIVID  COLORS  (Turkey).  XVIII.-XIX. 
Century. 

991 

212 


99 1  “A 


992 


993- 

995 


996 


997 


NEEDLE  WORK 


Prayer-rug  with  the  prayer-niche  (mihrab)  in  the  centre. 
The  composition  and  different  motives  correspond  to  the 
Kula  prayer-rugs.8  Technique  of  the  embroidery:  Cut-work, 
darning-stitch. 

GOLD-EMBROIDERED  HAREM  SLIPPERS 
(Turkey).  XIX.  Century. 

Embellished  with  pearls. 

VI.  TURKESTAN. 

HEAVY  COUCHED  EMBROIDERY  ON  LINEN 
CLOTH  (Bokhara) .  XIX.  Century. 

Huge  red  flower-shaped  discs  of  brilliant  color  effect,  sur¬ 
rounded  by  floral  scroll-work. 

VII.  PERSIA. 

THREE  SQUARES  OF  RICH  SILK  EMBROIDERY 
(Persia).  XVIII.  Century. 

Diagonal  pattern  of  flowers,  stems,  and  leaves,  of  charming 
color  and  design.  The  borders  surrounding  these  three  em¬ 
broideries  are  strips  of  brocade  of  the  same  period. 

VIII.  INDIA. 

HUGE  INDIAN  SILK-EMBROIDERED  SHAWL. 
XVIII.-XIX.  Century. 

Geometrical  pattern  of  lozenges  and  diamonds  on  brilliant 
yellow  silk  (satin  stitch)  embroidered  on  a  coarse  dark-red 
cloth. 

INDIAN  SILK-EMBROIDERED  SHAWL  (same  type 
as  No.  996).  XVIII.-XIX.  Century. 

Geometrical  leaf  pattern  embroidered  in  red  silk  on  coarse 
white  cotton  cloth. 


sSee  Hearst  collection  of  rugs. 


TEXTILES 

213 

HUGE  COVERLET,  SILK  -  EMBROIDERED  (In¬ 
dian).  XVIII.-XIX.  Century. 

Embroidery  on  red  (in  the  border,  blue)  woolen  cloth  in 
applique  work  and  couched  looped  thread.  Pattern :  Curved 
stems  forming  lozenges  with  scroll-work,  flowers  and 
leaves  in  between. 

998 

COVERLET,  SILK-EMBROIDERED  (India).  XIX. 
Century. 

Rich  embroidery  (satin  and  chain  stitches)  red  silk  thread 
on  plain  mauve  silk  weave.  Pattern :  Rosettes  and  conven¬ 
tionalized  flowers. 

999 

WOMAN’S  JACKET,  SILK-EMBROIDERED  (India). 
XIX.  Century. 

Same  technique,  colors,  and  pattern  as  No.  999. 

1000 

INDIAN  SKIRT,  SILK-EMBROIDERED.  XIX.  Cen¬ 
tury. 

All-over  pattern  of  flower  bouquets  in  chain  stitch  on  green 
satin.  The  flowers  indicated  by  fragments  of  mirror-glass. 

1001 

HINDU  EMBROIDERED  SKIRT.  XIX.  Century. 

Chain  stitch  on  dark-blue  satin.  Pattern  :  All-over  pattern  of 
peacocks  and  flower  bouquets  alternating. 

1002 

EMBROIDERED  SKIRT  (East  India).  XIX.  Century. 

In  design  and  technique  this  piece  resembles  No.  1005. 

1002-A 

INDIAN  SKIRT  OF  DARK  GREEN  COTTON 
CLOTH.  XIX.  Century. 

Embroidered  with  a  repeated  floral  pattern  in  yellow,  red, 
and  white  silk,  fragments  of  mirror-glass  in  the  middle 
of  the  flowers. 

1003  ! 

LARGE  INDIAN  SHAWL,  EMBROIDERED.  Modern. 
Satin  stitch  embroidery  on  mauve  satin.  Floral  pattern, 
with  birds  and  butterflies,  somewhat  inspired  by  Chinese 

1004 

214 


1005 


ioo6 


1007 


1007-A 


1008 


1009- 

1010 


NEEDLE  WORK 


art.  In  the  border  a  fringe  of  flowers  with  cocks  in  be¬ 
tween.  Current  type  of  embroidery. 

HINDU  WOMAN’S  SKIRT.  Modern. 

Embroidery  in  chain  stitch  of  different  very  rich  colors  on 
mauve  satin.  Pattern  of  conventionalized  flowers  with  fly¬ 
ing  birds  in  symmetrical  composition. 

COVERLET,  SILK  EMBROIDERED  (India).  Modern. 
All-over  pattern  of  flower  branches  embroidered  in  chaift 
stitch  on  dark-blue  satin  ground. 

PARSEE  WOMAN’S  JACKET,  SILK- 
EMBROIDERED  (India).  Modern. 

Rich  embroidery  in  satin  and  chain  stitch  on  black  silk 
weave.  Pattern:  Floral  scroll  work  of  Chinese  character  as 
a  repeated  all-over  pattern  with  pheasants  in  between.  In 
the  border  conventionalized  flowers  and  cocks. 

PARSEE  DRESS  (East  India).  Early  XIX.  Century. 
Silk  embroidery  on  green  satin;  tenchnically,  somewhat 
similar  to  No.  1001,  although  much  superior  artistically 
as  well  as  technically. 

IX.  CHINA. 

EMBROIDERED  WALL-HANGING  (China).  XVII.- 
XVIII.  Century. 

Technique:  embroidery  in  crewel  and  satin  stitch,  on  heavy 
dark-blue  silk  weave.  Pattern:  Chinese  sages,  surrounded 
by  playing  children  in  a  garden.  Bats,  cranes,  and  Chinese 
clouds  as  symbols  of  longevity.  Among  the  plants  are 
chrysanthemums,  peaches,  peonies,  pine-trees,  and  the  so- 
called  “hand  of  Buddha.” 

TWO  PANELS,  COVERS  OF  ARM  CHAIRS,  WITH 
EMBROIDERY  (Chinese).  XVIII.-XIX.  Century. 
Technique:  Embroidery,  couching  in  looped  threads  on 
heavy  silk  weaves.  Pattern:  Some  of  the  “precious  objects,” 
among  them  the  two  fishes,  sounding  plate  of  jade,  archaic 


TEXTILES 


bronze  vessel,  and  buckle.  Among  the  flowers,  the  peaches 
of  good  omen  and  conventionalized  peonies. 

CHINESE  ROBE  IN  VERY  RICH  EMBROIDERY. 
XVIII.-XIX.  Century. 

Technique :  Satin  stitch,  knot  stitch,  and  couched  looped 
threads  on  heavy  black  silk.  Pattern:  Waves  of  the  sea, 
with  flowers  and  some  of  the  precious  objects,  bats,  etc., 
above  medallions  of  very  rich  flowers  and  conventionalized 
butterflies.  Very  fine  effect  of  the  bright  colors  against  the 
dark  background. 

CHINESE  SKIRT,  EMBROIDERED.  XIX.  Century. 
Technique:  Embroidery  in  heavy  Chinese  satin  stitch  on 
heavy  silk  weave.  Pattern:  Dragons  chasing  the  sacred 
jewel  above  the  waves  of  the  sea;  bats,  cloud  pattern,  and 
“precious  objects.”  Background  prune  color. 

CHINESE  ROBE,  EMBROIDERED.  XIX.  Century. 
Technique:  Transparent  gauze.  Silk  weave,  embroidered 
in  canvas  and  knot  stitch.  Pattern :  Medallions  with  flowers 
and  butterflies  on  yellow  background,  on  the  ends  of  the 
sleeves ;  flowers  and  butterflies  in  very  rich  embroidery  on 
dark-blue  background. 

CHINESE  JACKET,  EMBROIDERED.  XIX.  Century. 
Technique:  Heavy  embroidery  in  crewel  and  satin  stitch. 
Pattern:  Medallions  with  chrysanthemums,  peonies,  and 
other  flowers  and  birds  in  free  composition,  on  black  back¬ 
ground. 

CHINESE  SKIRT,  EMBROIDERED  IN  SATIN 
STITCH.  XIX.  Century. 

Current  pattern  of  butterflies  and  conventionalized  peonies. 

X.  JAPAN. 

JAPANESE  KIMONO.  Modern. 

Green  satin  heavily  embroidered  with  naturalistic  floral  pat¬ 
terns. 


;!  2i6 

NEEDLE  WORK 

XL  GERMANY. 

1017 

NOBLEMAN’S  EMBROIDERED  POUCH  (Ger¬ 
many).  Dated  1709. 

XII.  SWEDEN. 

1018 

EMBROIDERED  PEASANT  APRON  (Sweden). 

Modern. 

XIII.  BAVARIA. 

1019 

GOLD-EMBROIDERED  BODICE  (Bavaria).  XVIII. 
Century. 

1020 

BRIDESMAID’S  CAP  (Bavaria).  XVIII.  Century. 

1021 

WEDDING  CAP  (Bavaria).  XVIII.  Century. 

Silver  lace  and  gold  embroidered. 

;  1022 

PEASANT  CAP  (Bavaria).  XVIII.  Century. 

Silver  embroidered  over  black  cloth. 

i  1023 

PEASANT  CAP  (Bavaria).  XVIII.  Century. 

Silver  embroidered  over  black  cloth. 

IO24 

GOLD-EMBROIDERED  PEASANT  CAP  (Bavaria). 
XVIII.  Century. 

1025 

GOLD-EMBROIDERED  PEASANT  CAP  (Bavaria). 
XVIII.  Century. 

XIV.  HUNGARY.  1 

1026 

HUNGARIAN  PEASANT  EMBROIDERY.  Early 
XIX.  Century.  3 

This  piece  is  probably  from  Fogaras  County,  Hungary. 
From  the  raising  of  the  flax  to  the  spinning  of  the  linen 
all  the  materials  employed  are  made  by  the  peasants,  and 
the  pattern  is  designed  as  well  as  executed  by  them. 

BIBLIOGRAPHY 


BIBLIOGRAPHY  ON  TAPESTRY 
WEAVING 

COMPILED  BY  PHYLLIS  ACKERMAN 

Only  a  few  of  the  more  usually  accessible  books  and  articles  have  been 
mentioned  here.  For  a  complete  bibliography  (containing  the  tremen¬ 
dous  number  of  1083  titles)  see — 

GUIFFREY,  JULES :  La  Tapissene.  Paris,  1904. 

BIRRILL,  FRANCIS  :  “Tapestries  at  Boughton  House,”  Burlington 
Magazine ,  xxv.,  183. 

CALMETTE,  FERNAND:  “La  Loi  de  la  Tapisserie,”  Revue  de 
l' Art,  xvi.,  105. 

-  “Les  Tapisseries  du  Mobilier  National,”  Revue  de  l  Art,  xn., 

371- 

CANDEE,  HELEN  CHURCHILL:  The  Tapestry  Book.  New  York. 

GUIFFREY,  J.  J. :  Histone  Generate  de  la  T apissene.  (Volume  on 
French  Tapestry.)  Paris,  1874-84. 

-  “La  Tapisserie  aux  XlVe  et  XVe  Siecles,”  U Histone  de  l  Art 

par  Andre  Michel,  vol.  111.,  ch.  v.  Paris,  19°7* 

-  “La  Tapisserie  au  XVIe  Siecle.”  Same,  vol.  v.,  ch.  xix. 

HUNTER,  GEORGE  LELAND  :  Tapestries,  Then  Origin,  History, 
and  Renaissance.  New  York,  1912. 

-  “Acts  of  the  Apostles  Tapestries,”  International  Studio  ( 1913), 

LXXIII. 

-  “Tapestries  in  America,”  International  Studio  (1912),  xxix. 

-  “Tapestries  in  America,”  International  Studio  (19*3)’  Lxm. 

-  “Tapestries  at  the  Metropolitan  Museum,”  International  Stu¬ 
dio  (1912),  LXXXII. 


220  BIBLIOGRAPHY  ON  TAPESTRY 

JACQUEMART,  ALBERT  :  History  of  Furniture ,  book  n.,  ch.  i. 

JUBINAL,  ACHILLE:  Les  Anciennes  Tapisseries  Historiees.  Paris, 
1838. 

KENDRICK,  A.  F. :  “Tapestries  at  Eastnor,”  Burlington  Magazine , 
xxxiii.,  23,  72,  98. 

LAFOND,  PAUL:  “La  Tapisserie  en  Espagne,”  Revue  de  l’ Art, 
xxxii.,  1 13,  207. 

MIGEON :  Les  Arts  du  Tissu.  Paris,  1907. 

MUNTZ,  E. :  Histoire  Generate  de  la  Tapisserie.  (Volume  on  Ger¬ 
man  Tapestry.)  Paris,  1874-84. 

-  La  Tapisserie  (Bibliotheque  de  l’Enseignment  des  Beaux 

Arts). 


PINCHART :  Histoire  Generale  de  la  Tapisserie.  (Volume  on  Flem¬ 
ish  Tapestry.)  Paris,  1874-84. 

RUBINSTEIN,  STELLA:  “Gothic  Tapestry  of  the  Late  XV.  or 
Beginning  of  the  XVI.  Century,”  Arts  and  Decoration,  vii.,  1. 

-  “Two  Late  French  Gothic  Tapestries,”  Art  in  America,  iv., 

No.  1. 

ST.  JOHN,  LADY:  “The  Gobelin  Factory  and  Some  of  its  Work,” 

Burlington  Magazine,  ix.,  279. 

THOMSON,  W.  G. :  History  of  Tapestry.  London,  1906. 

-  “Tapestry  Weaving  in  England,”  Art  Journal  (1911-12), 

211,251,299,326,369,447. 

WOOD,  D.  T.  B. :  “‘Credo’  Tapestries,”  Burlington  Magazine, 
xxiv.,  247,  309. 


TAPESTRY  DESIGNERS  AND 
WEAVERS 

COMPILED  BY  PHYLLIS  ACKERMAN 

THE  following  lists  of  tapestry  designers  and  tapestry  weavers, 
because  so  brief,  could  be  only  arbitrarily  selected.  It  could 
easily  be  contended  that  many  have  been  omitted  that  should 
have  been  included,  and  perhaps  some  included  that  could  have  been 
omitted.  Its  only  value  is  to  suggest  to  those  unacquainted  with  the 
history  of  the  art  some  of  the  more  important  names  connected  with  it. 

The  dates  given  for  the  weavers  are  those  of  documents  connected 
with  tapestry  in  which  they  appear.  They  serve  only  to  give  an  idea 
of  the  general  period  of  the  weaver’s  activity.  The  lists  go  down  to 
the  nineteenth  century. 

DESIGNERS 

Jehan  de  Bruges,  1379.  Agnolo  Bronzino,  1502-72. 

Rogier  van  der  Weyden,  1399-  Cecchino  del  Salviati,  1510-63. 

1464.  Peter  Paul  Rubens, 1577-1640. 

Andrea  Mantegna,  1431-1506.  David  Teniers,  1582-1649. 
Raphael,  1483-1520.  Francis  Cleyn  (Designer  at 

Jean  van  Roome  (Van  Brus-  Mortlake  1625-58). 

sels),  1513.  Francis  Poyntz  (Director  at 

Bernardvan  Orley,  1491-1542.  Mortlake  1667-778). 

Giulio  Romano,  1492-1546.  Charles  Le  Brun,  1619-90. 

Il  Bachiacca  (Francesco  d’  Al-  Noel  Coypel,  1628-1707. 

bertino  Ubertini),  1494-1557*  Jean  Baptiste  Oudry,  1686- 
Jan  Vermay  (Vermeyen),  1755* 

1 500-59.  Francois  Boucher,  1703-70. 

WEAVERS 

Nicolas  Bataille,  Paris,  1399.  Pasouier  Grenier,  Tournai, 
Pierre  Fere,  Arras,  1404.  i486. 


222  DESIGNERS  AND  WEAVERS 


Catherine  Hassels,  Bruges, 
1501. 

Leo  of  Brussels,  1513. 

Peter  van  Aelst,  Brussels, 
1515- 

Wilhelm  de  Pannemaker, 
Brussels,  1528. 

John  Karchar,  Ferrara,  1546. 
Nicholas  Karcher,  Ferrara  and 
Florence,  1546. 

John  Rost,  Florence,  1546. 
Richard  Hickes,  Barcheston, 
1588. 

Francois  Spierinx,  Delft,  1592. 
Jean  Geubels,  Brussels,  1596. 


Marc  Comans,  Paris,  1607. 

Francois  de  la  Planche,  Paris, 
1607. 

Francis  Crane,  Mortlake,  1619. 

Philip  de  Maecht,  Paris  and 
Mortlake,  1620. 

Pierre  le  Fevre,  Paris  and 
Florence,  1630. 

Jean  le  Fevre,  Florence  and 
Paris,  1630. 

Jean  Jans,  Paris,  1654. 

Louis  Hinart,  Beauvais,  1664. 

John  Vanderbank,  Soho,  Lon¬ 
don,  1700. 

Cozette,  Gobelins,  1736. 


BIBLIOGRAPHY  ON  RUGS 

COMPILED  BY  ARTHUR  UPHAM  POPE 

ANDREWS,  F.  H.:  One  Hundred  Carpet  Designs  from  Various 
Parts  of  India.  London,  1905-19°6- 

BIRD  WOOD,  SIR  GEORGE:  Industrial  Arts  of  India.  London, 
18. .. 

Contains  some  important  references  to  rugs  and  rug  design. 

BODE,  WILHELM  VON:  Altpersische  Kniipfteppiche.  Berlin, 
!9°4-  .  „  .  .  . 

- V orderasiastische  Kniipfteppiche  aus  alterer  Zeit.  Leipzig,  1901 

(new  edition). 

French  trans.,  Georges  Gromaire,  Paris,  n.  d.  (1913?).  A  penetrating  and  scholarly  work. 
Establishes  important  relation  between  early  Eastern  rugs  and  European  painting. 

:  BOGOLUBOW,  A. :  Tapis  de  I'Asie  centrale.  St.  Petersburg,  1908. 

A  thorough  and  important  work.  The  author  has  had  exceptional  advantages.  Far  out¬ 
ranks  all  other  authorities  on  Turkoman  weavings. 

CHURCHILL,  SIDNEY  T.  A.:  The  Carpet  Industry  in  Persia.  A 
Monograph.  Vienna,  1892. 

CLAFLIN,  H.  B.,  &  CO.:  Rugs  and  Carpets  From  the  Orient.  New 
York,  1907. 

CLARK,  C.  PURDON:  Oriental  Carpets.  A  Monograph.  Vienna, 
i  1892. 

CLIFFORD,  CHANDLER  R.:  Rugs  of  the  Orient.  New  York, 
1911. 

There  is  a  good  deal  of  pertinent  information  in  this  book  not  conveniently  accessible 
elsewhere.  There  are  also  some  useful  illustrations.  But  the  book  is  not  well  written, 
and  contians  some  outright  errors. 

CLIFFORD  AND  LAWTON :  The  Rug  Primer.  New  York,  1904. 
COLE,  ALLAN  SUMMERLY :  Article ,  Carpets,  in  Encyc.  Brit. 

While  written  in  a  careful  and  scholarly  way,  it  is  rather  dreary  and  unsatisfactory.  It 
is  very  brief,  badly  proportioned,  treats  European  made  rugs  as  of  equal  importance 
with  Oriental,  and  shows  little  understanding  of  the  aesthetic  or  cultural  significance 
of  Eastern  rug-making. 

COXON,  HERBERT :  Oriental  Carpets.  London,  1884. 


224  BIBLIOGRAPHY  ON  RUGS 


DILLEY,  ARTHUR  URBANE:  How  Oriental  Rugs  Are  Some¬ 
times  Bought  and  Sold.  Boston,  1909. 

A  witty  and  expert  exposition  of  some  modern  methods  of  selling  rugs. 

DUMONTHIER,  ERNEST :  Recueil  de  dessins  de  tapis  et  de  tapis- 
senes  d’ ameublement  du  mobilier  de  la  Couronne.  Paris,  1912. 

DUNN,  ELIZA :  Rugs  in  Their  Native  Land.  New  York,  1909. 

Clearly  written,  but  rather  slight. 

ELLWANGER,  WILLIAM  DELANCEY:  The  Oriental  Rug.  A 

Monograph  on  Eastern  Rugs  and  Carpets.  New  York,  1906. 

A  brief  though  engaging  presentation. 

FREHSE,  ERNST :  TV  as  muss  man  von  Onent-Teppichen  wissen ? 
Berlin,  1907. 

FROHLICH,  W. :  Orientalische  Teppiche.  Berlin,  1896. 

GRIFFITT,  J.  R.  G. :  Turkey  Carpets  and  Their  Manufacture. 
London,  1884. 

GURDJE,  V.:  Oriental  Rug  Weaving.  New  York,  1901. 

HARRIS,  HENRY  T. :  Carpet  TV eaving  Industry  of  Southern  India. 
Madras,  1908. 

HAWLEY,  WALTER  A.:  Oriental  Rugs,  Antique  and  Modern. 
New  York,  1913. 

This  is  the  most  complete  and  systematic  general  treatise  on  modern  rugs  in  any 
language.  The  famous  works  of  European  scholars  are  almost  all  monographs  on 
special  collections,  or  are  at  least  confined  to  early  periods.  Mr.  Hawley  has  done  a 
considerable  service  m  working  out  systematically  the  characteristics  of  color,  design, 
and  technical  construction  of  practically  all  the  well-defined  types  of  modern  rugs. 
The  book  is  perhaps  as  accurate  as  could  be  expected  in  the  present  state  of  our 
knowledge.  Needless  to  say,  it  is  indispensible  to  all  students  of  rugs. 

HENDLEY,  THOMAS  HOLBEIN:  Asian  Carpets,  XVI.  and 
XVII.  Century  Designs  from  the  Jaipur  Palaces.  London,  1905. 

A  sumptuous  and  important  work. 

HOLT,  ROSA  BELLE:  Rugs,  Oriental  and  0 ccidental.  Antique  and 
Modern.  Chicago,  1901. 

Although  this  book  is  too  vauge  and  brief  to  be  of  much  service,  it  gives  some  informa¬ 
tion  about  hand-woven  rugs  other  than  Oriental. 


RUG  BIBLIOGRAPHY  225 


HOPF,  CARL:  Die  altpersischen  Teppiche.  Eine  Studie  iiber  Schon- 
heitswerke.  Munchen,  1913. 

HUMPHRIES,  SIDNEY :  Oriental  Carpets ,  Runners  and  Rugs. 
London,  1910. 

There  are  some  excellent  color  reproductions  in  this  book,  though,  for  the  most  part, 
of  very  ordinary  rugs,  but  the  text  is  almost  without  value.  Only  a  weak  thread  of 
information  runs  through  a  wearisome  maze  of  garrulity,  sentimentality,  vanity,  and 
ignorance.  The  book  should  never  have  been  published. 

JOURNAL  OF  INDIAN  ART  AND  INDUSTRY :  Indian  Carpets 
and  Rugs  (parts  17-94).  London,  1905-6. 

Numerous  illustrations.  With  the  exception  of  the  color  plate  of  the  Girdlers  rug,  of 
poor  quality;  valuable  and  informing,  none  the  less. 

KIRBY,  THOMAS  E.  (Ed.)  :  Illustrated  Catalogue  of  the  Art  and 
Literary  Property  of  the  late  Henry  G.  Marquand.  New  York,  1903. 

KENDRICK,  A.  F. :  The  Art  Workers'  Quarterly  Article  on  the 
Girdlers  Carpet  (with  color  plate).  Vol.  hi.,  no.  11.  London,  July, 
1904. 

LANGTON,  MARY  BEACH:  How  to  Know  Oriental  Rugs.  New 
York,  1911. 

A  clearly  writen,  sensible,  straightforward  presentation  of  modern  rugs.  Interesting, 
informing,  generally  reliable.  Although  written  ten  years  ago,  still  one  of  the  best  of 
the  small  books. 

LARKIN,  THOMAS  JOSEPH:  A  Collection  of  Antique  Chinese 
Rugs.  London,  1906. 

LEBORGNE,  FERDINAND:  Report  on  Carpets  at  the  Paris  Ex¬ 
hibition  of  1900.  Paris,  1901. 

LESSING,  JULIUS:  Alt-0 rientalische  Teppichmuster,  etc.  Berlin, 
l877' 

-  English  Translation.  Ancient  Oriental  Carpets,  etc.  London, 

1879. 

A  monumental  pioneer  work  of  great  importance. 

-  Ancient  Carpet  Patterns,  etc.  London,  1879. 

-  Modeles  de  tapis  onentaux  d' apr'es  des  documents  authen- 

tiques  et  les  pnncipaux  tableaux  du  XV e  et  XVIe  siecles.  Paris,  1879. 


226 


RUG  BIBLIOGRAPHY 


-  Orientalische  Teppiche.  Berlin,  1891  (Berlin,  Kunstgewerbe 

Museum.  Vorbilderheft  v.  13). 

LEWIS,  GEORGE  GRIFFIN:  The  Mystery  of  the  Oriental  Rug. 
Philadelphia,  1914. 

Clear  presentation  of  some  of  the  simpler  facts  concerning  rugs. 

- -  The  Practical  Book  of  Oriental  Rugs  (2d  ed.).  Philadelphia, 

1913. 

Systematic,  usable,  reasonably  accurate.  Good  technical  chart.  Of  considerable  aid  for 
the  rapid  identification  of  ordinary  pieces.  Contains  little  in  the  way  of  interpretation 
or  appreciation. 

LONDON :  Victoria  and  Albert  Museum.  Guides.  Loan  Exhibition 
of  Tapestries,  Carpets,  and  Silk  Fabrics,  from  the  Mobilier  National, 
Paris,  July  to  October,  1912.  London,  1912. 

This  and  the  two  following  of  small  value. 

- -  Guides.  Loan  Exhibition  of  Tapestries,  Carpets,  and  Silk 

Fabrics,  from  the  Mobilier  National,  Pans,  July  to  November ,  1912. 
London,  1913. 

-  (Textiles.)  Guide  to  an  Exhibition  of  Tapestries,  Carpets  and 

Furniture,  lent  by  the  Earl  of  Kalkeith,  March  to  May,  1914  (2d  ed.). 
London,  Office,  1914. 

-  Guide  to  the  Collection  of  Carpets.  1915. 

Clear,  interesting,  informing. 

MARTIN,  F.  R. :  A  History  of  Oriental  Carpets  before  1800. 
Vienna,  1908. 

An  imposing  publication.  Despite  several  rather  serious  errors,  it  is  none  the  less  one 
of  the  great  works  on  rugs.  Sumptuous  plates,  many  exceedingly  valuable  illustrations 
of  allied  arts.  Exhibits  great  erudition  and  industry  and  wide  acquaintance  with  the 
art  of  many  times  and  places.  Convincing  arguments  for  assigning  the  Polonaise  rugs 
to  Persia  and  the  Ispahans  to  Herat.  Unfortunately,  written  in  bungling  English. 

MIGEON,  GASTON :  Exposition  des  arts  musulmans  au  Musee  des 
Arts  decoratifs.  Paris,  1903. 

-  La  collection  Kelekian:  etoffes  et  tapis  d’ orient  et  de  Venise. 

Paris,  1908. 

MUKERJE,  N.  G. :  Carpet  Weaving  in  Bengal.  A  Monograph.  Cal¬ 
cutta,  1907. 


RUG  BIBLIOGRAPHY 


22  J 


MUMFORD,  JOHN  KIMBERLY :  Chinese  Rugs.  “The  Mentor,” 
New  York,  vol.  iv.,  no.  2. 

Some  interesting  facts  and  analyses.  Excellent  color  plates. 

-  A  Collection  of  Asiatic  Floor  Coverings.  New  York,  1906. 

-  Oriental  Rugs.  London,  1901.  New  \  ork,  1901  (3d  ed.). 

This  pioneer  work,  the  first  general  treatise  on  modern  rugs  in  English,  remains  in 
some  respects  still  the  best.  It  is  brilliantly  written,  contains  a  great  deal  of  first-hand 
information,  and  presents  the  point  of  view  of  the  Oriental  artisan  with  a  lively 
sympathy  that  is  at  once  sound  and  engaging.  As  an  interpreter  of  the  aesthetic  and 
emotional  significance  of  fine  rug  design,  Mr.  Mumford  has  not  often  been  surpassed. 

-  Rugs  and  Rug  Making.  “The  Mentor,”  New  York,  vol.  11., 

no.  19. 

Fine  illustrations  and  a  great  deal  of  interesting  information  briefly  and  clearly  put. 

-  The  Yerkes  Collection  of  Oriental  Carpets.  New  York  and 

London,  1910. 

Magnificent  illustrations,  interesting  and  valuable  text,  despite  serious  error  in  attri¬ 
bution  of  the  Polonaise  carpets. 

MUMFORD,  JOHN  KIMBERLY,  and 

MOORE,  FREDERICK:  Old  Chinese  Rugs.  New  York,  1916. 

While  true  to  its  character  as  a  commercial  catalogue,  and  while  very  far  from  the 
long-desired  treatise  on  Chinese  rugs,  it  is  none  the  less  a  very  useful  publication. 
There  are  some  handsome  illustrations  of  typical  pieces  and  a  good  deal  of  valuable 
information. 

NEUGEBAUER,  RUDOLF,  and  ORENDI,  JULIUS:  Handbuch 
der  orient alischen  T eppichkunde.  Mit  einer  Einfuhrung  von  R.  Graul. 
Leipzig,  1909. 

Clearly  written,  with  nearly  200  useful  illustrations.  The  accounts  of  each  type  are  alto¬ 
gether  too  brief  and  there  is  altogether  too  much  concession  to  the  confusion  of  trade 
names.  The  prices  given  indicate  nothing  of  present  rug  prices  in  America. 

PRESBREY,  FRANK:  To  the  Orient  in  Search  of  Rugs.  New  York, 
1896. 

PUSHMAN,  G.  T.:  Art  Panels  from  the  Hand  Looms  of  the  Orient. 
Chicago,  1911. 

An  unpretentious  but  creditable  publication  concerning  modern  rugs.  Helpful  illustra¬ 
tions  that  are  really  typical.  The  list  of  rugs  treated  is  very  incomplete,  and  there  are 
several  more  or  less  serious  errors. 


228  RUG  BIBLIOGRAPHY 


REVIEW  PUBLISHING  CO.:  Oriental  Rugs  and  Carpets.  New 
York,  1910. 

Not  very  systematic,  insufficiently  complete  treatment  of  each  rug,  pictures  appropri¬ 
ated  from  other  sources  without  acknowledgment.  A  number  of  errors,  yet  despite  all 
this  a  useful  publication. 

RIEGL,  ALOIS :  Altorientalische  Teppicke.  Leipzig,  1891. 

-  Altorientalische  Teppiche  (Second  Series).  London,  1893. 

- -  Altere  orientalische  Teppiche.  Vienna,  1892. 

-  Ein  orientahscher  Teppich  von  Jahre  1202  n.  Chr.  und  die 

altesten  orient alischen  Teppiche.  Berlin,  1895. 

RIPLEY,  MARY  CHURCHILL:  The  Oriental  Rug  Book.  New 
York,  1904. 

Represents  a  good  deal  of  industry,  but  badly  confused  and  replete  with  annoying 

sentimentalities. 

- -  The  Tiffany  Studios  Collection  of  Antique  Chinese  Rugs. 

Thirty-two  first  rate  illustrations  but  text  unsystematic,  and  with  disappointingly  little 
information. 

ROBINSON,  VINCENT  J. :  Eastern  Carpets:  Twelve  Early  Ex¬ 
amples.  With  Descriptive  Notices  by  V.  J.  R.  and  a  Preface  by  Sir 
George  Birdwood.  London,  1882. 

ROPERS,  HEINRICH:  Auskunftsbuch  iiber  morgenlandische  Tep¬ 
piche.  Hamburg,  1913. 

SARRE,  FRIEDRICH,  and  MARTIN,  F.  R. :  Die  Ausstellung  von 

Meisterwerken  muhammedamscher  Kunst  in  Munchen  igio.  Miin- 
chen,  1912. 

An  ideal  catalogue.  Admirable  illustrations  of  some  of  the  most  important  rugs  in  the 
world.  Authoritative  attributions. 

SIMAKOF,  N. :  L’ Art  de  I’Asie  Centrale. 

Although  later  works  have  made  considerable  advance,  this  book  is  still  rightly  held 
in  high  esteem. 

STEBBING,  EDWARD:  The  Holy  Carpet  of  the  Mosque  at  Ar- 
debil.  London,  1893. 

STOECKEL,  J.  M. :  Modern  Turkey  Carpets.  A  Monograph.  Pub¬ 
lished  by  the  Royal  Austrian  Museum,  1892. 


RUG  BIBLIOGRAPHY  229 


TIFFANY  STUDIOS:  Notable  Antique  Oriental  Rugs.  New  York, 
1906. 

-  Notable  Oriental  Rugs.  New  York,  1907. 

-  The  Tiffany  Studios  Collection  of  Antique  Chinese  Rugs. 

(M.  C.  Ripley,  editor.)  New  York,  1908. 

UNITED  STATES  COMMERCE:  Special  Consular  Reports,  vol. 
1.,  p.  307.  “Report  on  Carpet  Manufacture  in  Foreign  Countries,” 
1890. 

VALENTINER,  WILHELM  R.:  Catalogue  of  a  Loan  Exhibition 
of  Early  Oriental  Rugs.  Metropolitan  Museum  of  Art.  New  \  ork, 
1910. 

This  admirable  work,  unfortunately  out  of  print,  is  one  of  the  best  reference  books 
for  early  rugs  we  have.  There  are  over  fifty  illustrations  of  some  of  the  finest  rugs 
owned  in  America  and  an  admirable  introduction. 

VIENNA:  K.  K.  Oesterr.  Handelsmuseum.  Katalog  der  Ausstellung 
onentalischer  Teppiche  im  .  .  .  Museum,  i8gi.  (Preface  by  A.  von 
Scala.)  Vienna,  1891. 

-  K.  K.  Oesterr.  Handelsmuseum.  Orientalischer  Teppiche.  Eng¬ 
lish  translation,  Oriental  Carpets.  Published  by  order  of  the  Imperial 
and  Royal  Ministries  of  Commerce,  Worship,  and  Education.  Eng¬ 
lish  edition  edited  by  C.  Purdon  Clarke.  Vienna,  1892-96. 

A  magnificent  and  important  publication.  The  service  performed  for  the  right  under- 
standing  and  appreciation  of  Oriental  rugs  throughout  the  world  by  this  sumptuous 
catalogue  can  hardly  be  exaggerated.  Long  out  of  print. 

-  K.  K.  Oesterr.  Museum  fur  Kunst  und  Industrie.  Altoriental- 

ischer  T eppiche.  English  translation,  Ancient  Oriental  Carpets.  With 
preface  by  A.  von  Scala;  introduction  by  W.  Bode ;  text  by  F.  Sarre. 
Leipzig,  1906-08. 

The  most  magnificent  color  plates  that  have  been  produced.  Many  of  the  illustrations 
on  exhibition  are  taken  from  this  publication.  The  text  is  important;  the  English 
translation  atrocious. 

WARING  AND  GILLOW,  LTD. :  The  Carpet  Book.  London,  1914. 
WINTERS,  LAWRENCE:  Rugs  and  Carpets  from  the  Orient. 
New  York,  1902. 


RUG  BIBLIOGRAPHY 


230 


MAGAZINE  BIBLIOGRAPHY 


BALLARD,  J.  F. :  “Antique  Ghiordes  Rugs,”  International  Studio , 
Lin.,  86-90. 


BEAMISH,  M.  W. :  “A  B  C  of  Oriental  Rug  Lore,”  Country  Life, 
xxi.,  29-31. 


BIRD  WOOD,  SIR  GEORGE  CHRISTOPHER  MOLES- 
WORTH:  “The  Antiquity  of  Oriental  Carpets,”  Royal  Society  of 
Arts  Journal  (London),  lvi.,  1041,  1064. 

BODE,  WILHELM  von:  “Ein  altpersische  Teppich  im  Besitz  der 
Koniglichen  Museen  zu  Berlin.”  Koniglich  Preussiche  Kunstsamm- 
lungen  (Prussia),  Jahrbuch,  xni.,  26,  108. 

BOUVE,  P.  C. :  Story  of  the  Rug,”  New  England  Magazine, 
XXXIV.  (New  Series),  68. 

BULLER,  W. :  “Oriental  Carpets,”  Art  Journal,  xxxiv.,  141. 

BURLINGTON  MAGAZINE:  Six  articles  on  Oriental  Carpets: 

I.  Introduction,  1.,  75. 

II.  Symbolism  in  Design,  1.,  341. 

III.  The  Swastika,  11.,  43. 

IV.  The  Lotus  and  the  Tree  of  Life,  11.,  349. 

V.  Animal  Life  in  Decoration,  in.,  263. 

VI.  Art  of  Dyeing,  iv.,  143. 

CONWAY,  SIR  MARTIN :  A  Persian  Garden  Carpet,”  Burling¬ 
ton  Magazine,  xxni.,  95. 

COX,  R. :  Sur  Ouatre  Tapis  du  Musee  historique  des  tissues  de 
Lyon,”  Rev.  de  l' Art,  xxix.,  289. 

CRAFTSMAN:  “Romance  of  the  Oriental  Rug,”  xxv.,  616. 


RUG  BIBLIOGRAPHY 


231 


CRISP,  ADA:  “Illustrations  Concerning  Oriental  Rugs,”  Good 
Housekeeping ,  January,  1907. 

CL  RTIS,  JESSIE  K. :  “Oriental  Rugs,  Their  Design  and  Symbol¬ 
ism,”  The  Craftsman ,  June,  1904. 

CLTTLER,  M. :  “Vogue  of  the  Chinese  Rug,”  House  Beautiful, 
xxxv.,  86. 

de  KAY,  - :  “Old  Chinese  Rugs,”  Architectural  Record,  xxv., 

203. 

DILLEY,  A.  U. :  “How  Oriental  Rugs  Are  Often  Sold,”  House 
Beautiful,  xxv.,  92. 

-  “How  to  Select  Oriental  Rugs,”  House  Beautiful,  xxvi.,  77. 

-  “Identifying  Rugs  by  Design,”  House  Beautiful,  xxv.,  132. 

-  “Oriental  Rug  Values  and  Prices,”  House  Beautiful,  xxvi., 

101. 

-  “Oriental  Rugs  as  Distinguished  by  Their  Weave,”  House 

Beautiful,  xxv.,  110. 

ELLW  ANGER,  G.  H. :  “The  Craft  of  the  Weaver,”  The  Book 
Buyer,  January,  1901. 

FOELKERSAM,  BARON  A.:  “The  Ancient  Carpets  of  Central 
Asia,”  Starye  Ghody,  October-December,  1914,  pp.  57-113. 

GOOD  HOUSEKEEPING:  “Confessions  of  a  Rug  Dealer,”  lii., 
318. 

HARPER’S  WEEKLY :  “Chinese  Rug  Makers,”  lii.,  27. 

-  “Oriental  Rugs,”  lvi.,  23. 

HAWLEY,  W.  A.:  “Prayer  Rugs  of  the  Orient,”  Country  Life  in 
America,  xxiv.,  45. 

-  “Three  Important  Groups  of  Oriental  Household  Rugs,” 

International  Studio,  lii.,  53. 

-  “Value  of  Historical  Association  in  the  Enjoyment  of  Oriental 

Rugs,”  International  Studio,  l.,  48. 


232  RUG  BIBLIOGRAPHY 


HERRINGHAM,  CHRISTINA  J. :  “Notes  on  Oriental  Carpet 
Patterns,”  Burlington  Magazine,  xiv.,  28,  84,  147,  218,  292;  xx., 
98. 

HOUSE  BEAUTIFUL:  “Persian  Rug  Weavers,”  xxx.,  34. 

HOWE,  SAMUEL:  “Rugs,  Their  Character  and  Functions,”  Coun¬ 
try  Life  in  America,  January,  1906. 

HUNTER,  GEORGE  LELAND :  “Animals  in  Oriental  Rugs,” 
House  Beautiful,  September,  1907. 

-  “Oriental  Rugs  and  How  to  Select  Them,”  American  Homes, 

viii.,  432. 

-  “Things  Worth  Knowing  About  Oriental  Rugs,”  Country 

Life  in  America,  x.,  70. 

- —  “Tips  for  Buyers  of  Oriental  Rugs,”  Country  Life  in 

America,  xix.,  506. 

- -  “The  Truth  About  ‘Doctored’  Rugs,”  Country  Life  in 

America,  x.,  333. 

- -  “The  Use  of  Oriental  Rugs  in  the  Country  House,”  Country 

Life  in  America,  X.,  184. 

- - -  “Why  Purchase  Oriental  Rugs,”  Country  Life  in  America, 

xix.,  111. 

INTERNATIONAL  STUDIO:  “Gallery  of  Oriental  Rugs,”  xlv., 
78. 

JAEKEL,  OTTO:  “Zur  Urgeschichte  der  orientalischen  Teppiehe,” 

Orientalisches,  Archiv  11.,  167. 

KENDRICK,  A.  F. :  “Carpets  at  Boughton  House,”  Burlington 
Magazine,  xxv.,  73. 

KRYGOWSKI,  T. :  “Polenteppiche”  (Polnische  Kniipfteppiche), 
Orientalisches,  Archiv  11.,  70,  106. 

KUDERNA,  JOSEF :  “Turkmenenteppiche,”  Orientalisches,  Archiv 
11.,  11. 


RUG  BIBLIOGRAPHY  233 

LAWTON,  L.  B. :  “Advance  Lesson  in  Oriental  Rugs,”  House  Beau¬ 
tiful ,  xxxi.,  45-46. 

LORD,  J.  P. :  “Poetry  of  Oriental  Rugs,”  Suburban  Life ,  xiv.,  57. 
-  “Why  Buy  Oriental  Rugs,”  Suburban  Life ,  xm.,  238. 

MAROUIS,  W.  G. :  “Oriental  Rugs,”  Brush  and  Pencil,  September, 
1901. 

MARTIN,  F.  R. :  “Classification  of  Oriental  Carpets,”  Burlington 
Magazine,  viii.,  35,  186,  332. 

-  “A  Shiraz  Carpet  of  the  XV.  Century,”  Burlington  Maga¬ 
zine,  xvi.,  129. 

MEYER-RIEFSTAHL,  R. :  “Oriental  Carpets  in  American  Collec¬ 
tions,”  Art  in  America,  1916,  p.  147. 

MICHEAL,  WM.  H. :  “Rug  Making  in  India,”  Daily  Consular  and 
Trade  Reports,  July  23,  1908. 

MUMFORD,  J.  K. :  “Oriental  Rugs,”  Nation,  lxxii.,  323. 

-  “Passing  of  the  Antique  Rug,”  Century,  lxxix.,  340. 

NATION :  “The  Disappearing  Eastern  Rug,”  lxxxiii.,  257. 

RILEY,  P.  M. :  “Lure  of  the  Persian  Rug,”  House  Beautiful, 
xxxii.,  93. 

ROBINSON,  VINCENT:  “Eastern  Art  Carpets,”  Journal  of  So¬ 
ciety  of  Arts,  March,  1906. 

SCIENTIFIC  AMERICAN:  “Interesting  Facts  Concerning  the 
Carpet  Industry  of  Persia,”  xciv.,  11. 

SCIENTIFIC  AMERICAN  SUPPLEMENT:  “Artificial  vs.  Na¬ 
tural  Dyes,”  January  27,  1906. 

-  “Oriental  Rug  Weaving,”  Lil.,  21530. 

-  “Rug  Industry  of  the  Caucasus  and  of  the  Transcaspian 

Countries,”  lv.,  22836. 


RUG  BIBLIOGRAPHY 


234 


STERLING,  ADA:  “Concerning  Rugs,”  Harpers  Bazar ,  Novem¬ 
ber,  1903. 

STRYGOWSKI,  JOSEPH:  “Oriental  Carpets,”  Burlington  Maga¬ 
zine ,  xiv.,  25. 

THOMPSON,  WILLIAM  GEORGE:  “Hispano-Moresque  Car¬ 
pets,  Burlington  Magazine,  xvm.,  100. 

TOWLE,  M.  R. :  “Oriental  Rugs,”  New  England  Magazine,  xxx., 

338. 


INDEX  TO 
CONTRIBUTORS 


INDEX  TO  CONTRIBUTORS 

PHYLLIS  ACKERMAN,  M.  A.,  Ph.  D. 

For  three  years  Assistant  in  the  Department  of  Philosophy  and  .Es¬ 
thetics  in  the  University  of  California.  Author  of  An  Interpretation 
of  Hegel’s  Phaenomenologie.” 

The  Tapestries . 37 

Bibliography  on  Tapestries . 219 

Tapestry  Designers  and  Weavers . 221 

J.  NILSEN  LAURVIK 

Director  of  the  San  Francisco  Art  Association,  conducting  the  Palace 
of  Fine  Arts ;  Commissioner  of  Fine  Arts  and  Member  of  the  Inter¬ 
national  Jury  of  Awards  for  Norway  at  the  Panama-Pacific  Interna¬ 
tional  Exposition,  1915;  Editor  of.  the  Sketch  Book ,  Chicago;  Art 
Critic  to  the  New  York  Evening  Post ,  to  the  New  York  Times ,  and  to 
the  Boston  Transcript,  and  contributor  to  leading  American  and  for¬ 
eign  art  journals;  Organizer  of  the  John  W.  Alexander  Retrospec¬ 
tive  Exhibition,  the  William  M.  Chase  Retrospective  Exhibition,  the 
Exhibitions  of  Contemporary  Art,  1907  and  1914,  the  Exhibition  of 
American  Landscape  Painting,  and  the  Exhibition  of  Hungarian 
Peasant  Art,  1914;  Special  Representative  in  Europe  of  the  Depart¬ 
ment  of  Fine  Arts  of  the  Panama-Pacific  International  Exposition, 
1915;  Author  of  “Is  It  ArtT’  and  brochures  on  “Anders  Zorn”  and 
on  “Rene  Lalique,”  and  translator  of  “The  Letters  of  Henrik  Ibsen” 
from  the  Norwegian  into  English ;  Co-Editor  of  and  chief  contributor 
to  the  Catalogue  de  Luxe  of  the  Department  of  Fine  Arts  of  the  Pan¬ 
ama-Pacific  International  Exposition,  19 1 5* 

Introduction . 

Paintings  and  Miniatures 
Drawings,  Etchings,  and  Engravings 
Furniture  and  Objets  d’Art  . 


Page 

VII 

1 

13 

157 


238  INDEX  TO  CONTRIBUTORS 


ARTHUR  UPHAM  POPE,  M.  A. 

Assistant  Professor  of  Philosophy  and  ^Esthetics  in  the  University  of 
California. 

Page 

The  Rugs . 67 

Bibliography  on  Rugs . 223 

R.  MEYER-RIEFSTAHL,  Ph.  D. 

Lecturer  at  the  Sorbonne,  1903-1911;  Secretary-General  of  the  Mu¬ 
nich  Mohammedan  Exhibition,  1910;  Organizer  of  the  Historical 
Textile  Exhibition  for  the  National  Silk  Convention  in  Paterson, 
New  Jersey,  1915 ;  Author  of  studies  on  textiles,  tapestries,  and  wov¬ 
en  fabrics  in  general,  appearing  in  the  Zeitschrift  fuer  Romanische 
Philologie,  the  Burlington  Magazine, db Art  et  les  Artistes,  Art  et  Dec¬ 
oration,  Zeitschrift  fuer  bildende  Kunst,  Kunst  und  Dekoration,  Art 
in  America,  and  other  leading  American  and  European  art  journals. 


The  Textiles 


Page 

177 


INDEX 


INDEX 

References  are  to  page  numbers. 


A 

“Abrashes,”  or  Shadow-Bands,  97. 

Aboo  Simbel,  drawing,  J.  L.  Smith,  29. 

Aboo  Simbel,  No.  2,  drawing,  J.  L. 

Smith,  29. 

Achard,  4. 

Ackerman,  Phyllis,  vi. 

Adam  and  Eve  Tavern.  The,  Old 
Chelsea,  etching,  Whistler,  31. 

Adoration  of  the  Infant  Christ,  The, 
painting,  Marr,  7. 

Adoration  of  the  Magi,  The,  painting, 
Italian  school,  XVII.  Century,  5. 

Admiral  Makaroff  in  Counsel  with  His 
Officers,  painting,  Vereshchagin,  12. 

Afghan  Rugs,  no,  144. 

Akbar,  India,  100. 

Ak-Hissar  Rugs,  125. 

Albins,  Anatomical  work  by  (plates  for), 
Grignon,  18. 

Alexander,  J.  W.,  34. 

Alexander  (Miss),  wood  engraving, 

Wolf,  35. 

Alone  in  the  World,  wood  engraving, 
Wolf,  33- 

Altar-Cloths,  Spanish,  iii,  208,  209. 

Altar-Cover  (embroidered),  Spanish,  208. 

Ambassadors,  The  Two,  painting, 

Holbein,  121. 

American  School  of  Wood  Engraving,  32. 

Amyot,  Jacques,  54. 

Anatolian  Rugs,  128. 

Anatomy  Lesson,  The,  painting, 
Rembrandt,  25. 

Angel  with  Flaming  Sword,  wood 
engraving.  Wolf,  34. 

Animal  Carpet  (Persian),  ivn,  97,  154. 

Anklets  (silver),  Indian,  160. 

Anthology  of  Persian  Poets,  manuscript, 
166. 

Atishkadih  of  the  Poets,  The,  Persian 
manuscript,  165. 

Antonio,  Marc,  21. 

Applique  Embroidery,  Spanish,  206. 

Applique  Embroidery,  Spanish  or  Italian, 
207. 


Apron  (embroidered),  Swedish,  216. 
Apron,  peasant’s,  Swedish,  216. 

Ardebil  Mosque  Carpet,  73,  74,  86. 
Armenian  Rugs,  84,  86,  94,  122. 

Armenian  Dragon  Rugs,  88,  117. 

Arrival  of  the  Sultan’s  Harem,  painting, 
Pasini,  9. 

Asia  Minor  Rugs,  62,  73H,  7811,  80,  81,  82, 
82W,  86,  87,  88,  89,  116-129,  132,  149. 

Azad,  iii. 

B 

Baku  Rugs,  81,  95,  133,  154- 

Balkan  Shirt  (linen,  embroidered),  21 1. 

Ballard,  J.  F.,  86. 

Barberini,  Cardinal  Francesco,  53. 
Bartolo,  Domenico  di,  7311,  87. 

Bartolozzi,  Francesco,  15. 

Battle  of  Constantine,  drawing, 

Rubens,  28. 

Bavarian  Bodice  (gold-embroidered), 

216. 

Bavarian  Cap  (bridesmaid’s),  216. 
Bavarian  Cap  (wedding),  216. 

Bavarian  Peasants’  Caps,  216. 

Bavarian  Scarf  (gold  fringe),  199. 
Beatrice  d'Este,  wood  engraving,  Wolf, 
35- 

Becquet,  etching,  Whistler,  31. 

Bell,  Robert,  87. 

Belt  (mountaineer’s),  Roumanian,  160. 
Beluchistan  Rugs,  83,  84. 

Beluchistan  Saddle-Bags,  145. 

Bergamo  Rugs,  82,  84,  87,  93,  120-123, 
132,  154- 

Bertin,  Victor,  3. 

Beshir  Rugs,  141-142. 

Bijar  Rugs,  84,  106. 

Birdwood,  Sir  George,  91. 

Blashfield,  E.  H.,  34. 

Blery,  M.  E.,  22. 

Bode,  Dr.  Wilhelm,  80. 

Bodice  (brocade),  Greek,  210. 


INDEX 


242 


Bodice  (gold-embroidered),  Bavarian, 

216. 

Bogolubow,  1 41,  144. 

Bokhara  Rugs,  83,  84,  142. 

Bonaparte  before  the  Sphinx,  wood 
engraving,  Wolf,  32. 

Boots  (ornamental  peasant  leather), 
Russian,  160. 

Boreas  Abducting  Orythia,  tapestry,  62. 
Borght,  Jacques  Van,  63. 

Borneo  Shawl,  with  stripes  of  animal 
decoration,  20s. 

Boston  Museum  School,  29. 

Boston  Public  Library,  mural  paintings 
in  by  Joseph  L.  Smith,  29. 

Boucher,  22. 

Boudoir-Bottle,  French  Glass,  175. 
Boudoir-Bottles,  Phoenician  Glass,  174. 
Boudoir-Jars,  Phoenician  Glass,  173,  174. 
Bowl  (brass),  Indian,  1S9. 

Bowl,  English  Glass,  176. 

Bowl,  Persian  Glass,  176. 

Box  (lacquer),  Persian,  167. 

Box  Bed,  Flemish,  161. 

Boy  with  a  Sword,  wood  engraving, 

Wolf,  34. 

Bridesmaid’s  Cap,  Bavarian,  216. 

Bridge,  The,  (Venetian  Series),  etching, 
Whistler,  31. 

Brocade  (gold),  Chinese,  198. 

Brocade,  French,  190. 

Brocade  (gold  and  silver),  French,  191. 
Brocade  (silk),  French,  192. 

Brocade  (silver),  French,  191. 

Brocade  (gold),  Japanese,  199. 

Brocade,  Persian,  194. 

Brocade  (gold),  Persian,  194. 

Brocade  (silk  and  cotton),  Persian,  193. 
Brocade  (silk,  flower  pattern),  Persian, 
194. 

Brocade  Cover  (gold  ground),  Persian, 
193- 

Brocades  of  China  and  Japan,  72. 
Bronckhorst,  73«. 

Brouwer,  Adriaen,  23. 

Brueghel,  Jan,  73 n. 

Buddhist  Priest’s  Robe,  Japanese,  198. 
Bulgarian  Scarf  (linen,  silk-embroidered) , 
21 1. 

Bulgarian  Shirts  (upper  parts),  210. 


Buonaccorso,  Niccolo  di,  73M. 

Burke,  Richard,  portrait,  engraving, 

J.  Ward,  30. 

Bushell,  151. 

Busni,  Persian  Poet,  Works  of, 
manuscript,  165. 

c 

Cabat,  4. 

Cabinet,  Italian,  160. 

Cabinet,  Spanish-Moorish,  160. 

Cabinet  and  Secretaire,  Spanish,  160. 
Caldwall,  James,  28. 

Calligraphy,  Persian,  manuscript,  165. 
Calvert,  Denis,  26. 

Candid,  Peter,  73«. 

Canton  Rugs,  86. 

Cap,  Bridesmaid’s,  Bavarian,  216. 

Cap,  Wedding,  Bavarian,  216. 

Caps,  Peasants’,  Bavarian,  216. 
Caravaggio,  26. 

Carceri  (fantastic  prison  interiors,  as 
seen  during  delirium  of  fever), 
etchings,  Piranesi,  23. 

Carlos,  Don  Balthazar,  wood  engraving. 
Wolf,  33. 

Carlyle,  portrait,  Whistler,  116. 
Carpaccio,  Vittori,  73«. 

Carracci,  26. 

Carter,  G.,  29. 

Cashmere  Shawls,  201,  202. 

Cassone,  Italian,  159. 

Cathedral  Stall,  Italian,  160. 

Caucasus  Rugs,  62,  80,  81,  82,  86,  104, 
109,  122,  130-140. 

Cazin,  33. 

Central  Asiatic  Rugs,  80. 

Chair  (ecclesiastical),  Spanish,  160. 
Chair  Covers  (panels),  Chinese,  214. 
Champagne-Glass,  American,  176. 
Chantry,  28. 

Chartres,  Stained  Glass  of,  71. 

Chase,  William  M.,  34. 

Chasuble  (embroidered),  Spanish,  207, 
209. 

Chasuble  (half  of),  French  or  Italian, 
188. 

Chasuble,  Italian,  187. 

Chasuble  (back  of),  Italian,  189. 


INDEX 


243 


Chasuble  (fragment),  Italian,  188. 

Chest  (dower),  German,  159. 

Chest  (dower),  Korean,  159. 

Chevreul,  8. 

Children’ s  Garden  Party,  painting, 

Marr,  7. 

Chinese  Dragons,  84. 

Chinese  Garment  (heavy  brocade),  197. 
Chinese  Garment  (silk  tapestry  woven), 
201. 

Chinese  Garment  (tapestry  woven),  200. 
Chinese  Jacket  (embroidered),  215. 
Chinese  Rugs,  78*1,  80,  84,  85,  86,  88,  90, 
93.  93”,  120,  132,  146-153,  155,  189m 
Chinese  Screen  (porcelain),  159. 

Chinese  Skirt  (embroidered),  215. 

Chinese  Tapestry,  iii,  199,  200. 

Chinese  Velvet  on  Gold  and  Silk  Brocade, 
198. 

Chinese  Wall-Hanging  (embroidered), 
214. 

Ching  Lung  Tapestry,  v. 

Christ  Healing  the  Sick,  etching, 
Rembrandt,  25. 

Ciceri,  Eugenio,  9. 

Cloth  of  Gold,  Indian,  196. 

Cloth  of  Gold,  Italian,  187. 

Cloth  of  Gold,  Japanese,  199. 

Cloud-Bands,  Chinese,  94. 

Coat  (blue  velvet),  Chinese,  198. 

Coat  (red  velvet),  Chinese,  198. 

Coat  (tapestry  satin),  Japanese,  199. 

Coch,  15. 

Codde,  73n. 

Collections: 

Altman,  78. 

Baker,  78M. 

Ballard,  78 n. 

Bourn,  78m 
Clark,  78n. 

Crane,  78M. 

Crocker,  78m 
Davis,  78m 
Ellsworth,  78M. 

Frick,  78m 
Havemeyer,  78m 
Havens,  78m 
Kent-Costikyan,  119M. 

Mcllbeny,  78m 
Marquand,  78. 

Merrit,  78M. 

Morgan,  78. 


Payne,  78m 
Pratt,  78m 
Ross,  78n. 

Rothschild,  74. 

Sharpies,  78m 
Widener,  78m 
Williams,  78 n. 

Yerkes,  78,  98. 

Conquests  of  Nadir  Shah  the  Great, 
History  of,  Persian  manuscript,  167. 
Coriolanus,  The  History  of,  tapestry, 
iii,  53- 

No.  I.  The  consul  Cominius  conferring 
the  name  of  Coriolanus  upon  Caius 
Marcius,  57. 

No.  II.  The  Tribunes,  after  a  special 
and  hurried  consultation,  condemn 
Coriolanus  to  death,  57. 

No.  III.  Coriolanus  summoned  before 
the  Tribunes  in  the  Forum  declines 
to  apologize  for  his  speech  in  the 
Senate,  58. 

No.  IV.  Coriolanus,  exiled,  bids  good- 
by  to  his  mother,  wife,  and  children, 
59- 

No.  V.  Coriolanus  is  assassinated  at 
Antium  by  Tullus  Aufidius  and  his 
accomplices,  59. 

Coronation  Carpet,  87. 

Corot,  (Jean  Baptiste)  Camille,  3,  9,  33. 

Costume  Study  (Middle  Ages), 
pencil  drawing,  Marr,  21. 

Cotton  Cloth  (block-printed),  North 
Indian,  203-204. 

Cotton  Cloth  (block-printed  and  oiled), 
North  Indian,  203. 

Cotton  Cloth  (block-printed  and  waxed), 
North  Indian,  204. 

Cousins,  Samuel,  26. 

Coverlet  (silk  brocade),  Chinese,  197. 
Coverlet  (silk  brocade),  Japanese,  199. 

Coverlet  (embroidered),  Spanish  or 
Portuguese,  209. 

Coverlet  (rich  embroidery),  Spanish,  207. 

Coverlet  (silk-embroidered),  Indian,  213, 
214. 

Crespigny,  Mrs.  Champion  de,  wood 
engraving,  Wolf,  33. 

Cristus,  Peter,  73M. 

Crivelli,  73H. 

“Crown-Jewel  Device,”  95,  134. 

Crucifix  (iron),  German,  159. 


INDEX 


244 


Crucifixion,  painting,  Mantegna,  60. 
Crucifixion,  The,  engraving,  Leyden,  21. 

D 

Daghestan  Rugs,  81,  82M,  86,  101,  132, 

134.  149- 

Damask,  Japanese,  198. 

Damask  (hand-colored),  Spanish,  189. 
Dance  of  Death,  The,  engraving, 

Holbein,  10. 

Daubigny,  8,  9. 

David,  Jerard,  73H. 

Death  of  the  Virgin  Mary,  The,  etching, 
Rembrandt,  26. 

Deer  Rug,  85. 

Delaroche,  7. 

“Dervishes  and  Oriental  Spiritualism,” 
Brown,  1 19». 

Descent  from  the  Cross,  The,  etching, 
Rembrandt,  26. 

Dessert-Bowl  and  Saucer,  American 
Glass,  176. 

Detaille,  (Jean  Baptiste)  Edouard,  3. 

Diaz,  9. 

Dictionary  of  Islam,  Hughes,  U9«. 

Divan  Cushion,  Turkish,  195. 

Dog  Rug,  85. 

Doge  and  Fisherman,  painting,  Bordone, 

88. 

Door  (lacquer),  Japanese,  159. 

Dore1,  Louis  Christophe  Gustave  Paul,  15. 
Dore  Gallery,  London,  16. 

Dragon  and  Phoenix  Carpet,  87. 

Drawing  (Classical  Composition), 

Coch,  15. 

Drawings  in  Water-colors  and  in  Mono¬ 
chrome,  Indian,  167. 

Dress  (brocade),  Greek,  210. 

Duck  Pond,  The,  wood  engraving,  Wolf, 
33- 

Duke  of  Buccleigh,  86,  100. 

Duke  of  Burgundy,  39,  49. 

Dulin,  5. 

Dunn,  Mrs.  Eliza,  92. 

Dupre,  9. 

Diirer,  Albrecht,  iii,  ivn,  16,  21. 

Dutch  School,  20. 


Dutch  Sconse  (brass),  159. 

Dyck,  Van,  73«,  100. 

Dynasties,  Chinese,  146. 

E 

Ecclesiastical  Chair,  Spanish,  160. 

Ecole  des  Beaux  Arts,  1 1. 

Ehrenstrahl,  73H. 

Eight  Bells,  wood  engraving,  Wolf,  34. 
Eighteenth-Century  Miniatures,  10. 
Embroidery,  Sicilian,  209. 

Embroidery  (on  linen),  Bokhara,  212. 
Embroidery  (on  linen  gauze),  Turkish. 

21 1. 

Embroidery  (peasant),  Hungarian,  216. 
Embroidery  (red  linen  and  gold  thread  on 
white  linen),  Bulgarian,  21 1. 
Embroidery  (rich),  Spanish,  208. 
Embroidery  (silk),  Persian,  212. 
Embroidery  (silk  brocade),  Chinese,  197. 
Embroidery  (square  panel),  Spanish,  208. 
Embroidery  (vivid  colors,  on  linen), 
Turkish,  21 1. 

Engelbrechtsen,  Cornelis,  20. 
Entre-fenetre,  tapestry,  63. 

Erasmus,  18,  19. 

Erskine,  The  Honorable  Thos.,  portrait, 
engraving,  Jones,  19. 

European  Glass,  iv,  174-176. 

Evening  in  the  Forest,  painting, 

Rousseau,  9. 

Exposition  Universelle,  Paris,  1878,  16. 
Eyck,  Van,  (brothers),  8. 

Eyck,  Jan  Van,  73 n. 

F 

Faience  (ancient),  Fragments,  174. 
Falcone,  Aniello,  27. 

Falconers,  The,  painting,  Fromentin,  4. 
Farren  (Miss)  and  Mr.  King,  engraving, 
Jones,  19. 

Feraghan  Rugs,  86,  89,  no,  154. 

Ferretti,  15. 

Figure  Studies,  pencil  drawing,  Marr, 

21. 

Figure  Study  of  Woman  Pointing,  pencil 
drawing,  Marr,  22. 

Fish  Rug,  85. 

Five-Medallion  Rug,  85. 


INDEX 


Flag  (ecclesiastical  processional), 
Spanish,  161. 

Flask,  German,  175. 

Flemish  School,  9. 

Flemish  Sideboard,  159. 

Fontainebleau  School,  4. 

Foppa,  73  n. 

Foulke,  53. 

Fra  Angelico,  118. 

Francis  of  Assisi,  portrait,  Pourbus  the 
Younger,  9. 

Francken,  Franz,  73 n. 

French  School  of  Landscape  Painting,  9. 

Fresco  in  Hospital  at  Sienna,  Bartolo,  87. 

Fromentin,  Eugene,  3. 

Fructus  Belli,  painting,  Romano,  63. 

Fur  Jacket,  The,  wood  engraving,  Wolf, 
32. 

G 

Garbo,  Del,  73n. 

Garment  (heavy  brocade),  Chinese,  197. 

Garment  (silk  tapestry  woven),  Chinese, 
201. 

Garment  (tapestry  woven),  Chinese,  200. 

Garrick  in  the  Character  of  Abel 

Drugger,  engraving,  S.  W.  Reynolds, 
27. 

Garrick  (Mr.)  in  the  Character  of 
Richard  III.,  engraving,  Grignon 
and  Hogarth,  18. 

Garrick,  David,  Esq.,  portrait,  engraving, 
T.  Watson,  30. 

Garrick,  Immortality  of,  engraving, 
Caldwall  and  S.  Smith,  29. 

Geel,  Joost  Van,  7371. 

Geography,  Ancient  Work  on,  Persian 
manuscript,  166. 

German  Embroidery  (the  story  of 
Solomon),  61. 

Gerome,  11,  32. 

Ghiordes  Rugs,  75,  78n,  81,  82,  86,  93, 
116-117,  119  n,  120,  154. 

Gifford,  33. 

Gillot,  5. 

Girdlers  Company,  London,  87. 

Girgl,  von,  130. 

Glass,  European,  v,  174-176. 

Glass,  Phoenician,  iv,  173- 179. 


245 


Glass  Section:  Prefatory  Note,  171-172. 
Glass,  Stained,  of  Chartres,  71. 

Gleyre,  8,  30. 

Gobelin  Manufactory,  53. 

Gold  and  Azure  Rug,  85. 

Gold  Fish,  The,  wood  engraving,  Wolf, 

32- 

Goldsmith,  Dr.,  portrait,  engraving,  21. 
Gorevan  Rugs,  84. 

Gothic  Hunting  Tapestry,  iv«,  v,  49. 
Goya,  33. 

Grand  Masonic  Lodge  Receiving  the 
Orphans,  The,  engraving,  Bartolozzi, 

15- 

Grave  Post  (iron),  German,  159. 

Greek  Bodice  (brocade),  210. 

Greek  Table  Cover  (embroidered),  210. 

Green  Bodice,  The,  wood  engraving, 
Wolf,  33. 

Griffith  (Mrs.),  wood  engraving,  Wolf, 

32. 

Grignon,  Charles,  17,  29. 

Guenje  Rugs,  84. 

Gyze,  George,  portrait,  Holbein,  88. 

H 

Hagar,  painting,  Salvator  Rosa,  27. 

Hals,  Franz,  23. 

Halt  of  Infantry,  painting,  Detaille,  3. 
Hamadan  Rugs,  83,  84,  92,  109,  154. 
Happiness  Rug,  85. 

Harem  Slippers  (embroidered),  Turkish, 
212. 

Harp  of  the  Winds,  The,  wood  engraving, 
Wolf,  33. 

Llarpignies,  Henri,  4. 

Hawley,  W.  A.,  73*1,  74,  96 n,  82n,  125, 
138,  149M. 

Helmholtz,  8. 

Hendley,  ioow. 

Henri,  Robert,  34. 

Henry  IV.,  portrait,  Pourbus  the 
Younger,  9. 

Herat  Rugs,  ivn,  78K,  94,  99,  100,  130. 
Hermitage,  St.  Petersburg,  6. 

Hindoos  Blown  from  the  Guns,  painting, 
Vereshchagin,  12. 


INDEX 


246 


Hispano-Moresque  Carpets,  80. 

History  of  Persia,  manuscript,  166. 
Hodges,  Charles  Howard,  17,  26. 

Hogarth,  William,  18. 

Holbein,  Hans  (the  Elder),  18. 

Holbein,  Hans  (the  Younger),  iii,  18,  73H. 
Holbein  Rugs,  86,  117,  118,  122. 

Homer,  Winslow,  34. 

Hooch,  Pieter  de,  7371. 

Horse  Rug,  85. 

Hubbell,  H.  S.,  32. 

/ 

Imperial  Persian  Rugs,  72. 

Impressionist  School,  6. 

Indian  Jacket  (woman's,  silk- 
embroidered),  213. 

Indian  Rugs,  80,  83. 

Indian  Shawl  (satin  stitch  embroidery), 

213. 

Indian  Shawl  (silk  embroidered),  212. 
Indian  Skirt  (gold  brocade),  197. 

Indian  Skirt  (silk-embroidered),  213. 
Indian  Skirt  (woman’s,  embroidered), 

214. 

Infant  Hercules,  The,  engraving, 

Hodges,  17. 

International  Society  of  Sculptors, 
Painters,  and  Gravers,  31. 
“Investigations  of  the  Variations  of  Sun¬ 
light” — The  Hayricks;  The  Poplars; 
The  Cliffs  of  Etretat;  The  Coins  de 
Riviere;  The  Cathedrals ;  The  Water 
Lilies;  and  The  Thames  Series  — 
paintings,  Monet,  8. 

Isabey,  Eugene  (Louis  Gabriel),  5,  9. 
Ispahan  Rugs,  99,  130. 

Israels,  Josef,  33. 

Italian  Renaissance,  17. 

Italian  School  (XVII.  Century),  5. 

Italian  Velvet,  186,  188. 

Italian  Velvet  (red  on  blue),  186. 

Italian  Velvet  Brocade,  189. 

Italian  Wall-Hanging  (velvet),  187,  188. 
Italy,  The  Coast  of,  painting,  Schonleber, 
10. 

J 

Jacket  (embroidered),  Chinese,  21s. 
Jacket,  Woman’s,  Indian,  213. 


Janissaries,  1 16. 

Jar  (delft),  probably  Persian,  159. 

Jar  (majolica),  Spanish,  159. 

] efferson,  Thomas,  wood  engraving, 

Wolf,  34. 

Jerusalem  Scarf  (embroidered),  21 1. 
Jewelry  (old  peasant),  reproduction  of, 
Bavarian,  160. 

Jews’  W a/iling-Place  at  Jerusalem,  The, 
painting,  Vereshchagin,  12. 

Jones,  John,  19. 

Jones,  Judge,  wood  engraving.  Wolf,  34. 
Joshaghan  Rugs,  75. 

Journal  pour  Rire,  16. 

Joussof-Zuleika,  Romance  of,  Persian 
manuscript,  165. 

Julian  Academy,  Paris,  29. 

K 

JCabistan  Rugs,  81,  131,  137. 

Kaftan  Brocade  (silk),  Persian,  195. 
K’angHsi  Rugs,  149-150,  153,  155. 
Karabagh  Rugs,  75,  80,  84,  135-137. 
Karaje  Rugs,  113,  114. 

Karim  Khan,  m. 

Kashan  Rugs,  76,  101. 

Kashgar  Rugs,  120,  147. 

Katchli  Design,  143. 

Kazak  Rugs,  77,  80,  84,  136,  137-138. 
Kemble  (Mr.)  in  the  Character  of  King 
Richard  III.,  engraving,  Bartolozzi,  15. 
Kennedy,  31. 

Kerman  Rugs,  76,  114-116. 

Kermanshah  Rugs,  75,  101,  ns«. 

Keyser,  Thomas  de,  73M. 

Khiva  Rugs,  144. 

Khiva-Bokhara  Rugs,  no. 

Khotan  Rugs,  147- 149. 

Kien  Lung  Rugs,  151-152,  153. 

Kimono,  Japanese,  206,  215. 

Kir-Shehrs  Rugs,  128,129. 

Knights  Hospitallers  of  St.  John  of 
Jerusalem,  127. 

Konia  Rugs,  82,  93,  128,  129. 

Kuba  Rugs,  81,  102,  130,  139,  154. 

Kulah  Rugs,  81,  1 17-120. 

Kurdish  Rugs,  136. 

Kurdistan  Rugs,  8on,  84,  101,  103,  105, 
129,  139,  154. 

Kurtz,  10. 


INDEX 


L 

La  Fortuna,  painting,  Salvator  Rosa,  28. 
Ladik  Rugs,  82n,  84,  122,  129. 

Lady  in  Black,  A,  wood  engraving, 
Wolf,  34. 

Lady  with  a  Lute,  wood  engraving. 
Wolf,  34. 

Lahore  Rugs,  100,  101. 

Lancret,  Nicolas,  iii,  5. 

Landing  of  the  Royal  Barge,  The, 
painting,  Isabey,  5. 

Landscape,  Classical,  etching,  Lewis,  20. 
Landscape,  Classical,  with  Dancing 
Nymphs,  etching,  Lewis,  20. 
Landscape,  Classical,  with  Figures, 
etching,  Lewis,  20. 

Landscape,  with  Figures,  etching, 
Rembrandt,  26. 

Landscape,  French,  painting,  Lepine,  6. 
Landscape,  Spring,  painting,  Corot,  3. 
Lanfranco,  27. 

Langlois,  7. 

Laristan  Province,  95. 

Laristan  Rugs,  95. 

Last  Judgment,  painting,  Leyden,  20. 
Last  Supper,  painting,  Pourbus  the 
Younger,  9. 

Legros,  6. 

Lenbach,  33. 

Lepine,  J.,  6. 

Lerambert,  53,  54. 

Lesghian  Rugs,  84. 

Lethiere,  9. 

Levy,  Jacques,  32. 

Lewis,  Frederick  Christian,  19. 

Leyden,  Lucas  Van  (Jacobsz  Lucas),  20. 
Libation-Cup,  German  Glass,  175. 

“Liber  Studiorum”  of  Claude  Lorrain, 
20. 

Libri,  Del,  73W. 

Lier,  Adolf,  10. 

Lincoln,  Abraham,  wood  engraving. 
Wolf,  34. 

Lion  Rug,  85. 

Lisbon  National  Academy,  15. 

Lodovico,  26. 

Longhi,  Luca,  73M. 

Loo,  Charles  Andre  Van,  6. 


2  47 


Loo,  Jean  Baptiste  Van,  6. 

Lorrain,  Claude,  20. 

Lotto,  Lorenzo,  7311. 

Loving-Cup,  German  Glass,  175. 

Lucas,  David,  26. 

Luti,  Benedetto,  6. 

M 

MacDonald,  Duncan,  ngn. 

Maes,  Nicholas,  73«. 

Magistrate’s  Rug,  85. 

Maile,  Georges,  26. 

Maksoud  (weaver),  73,  86. 

Manchurian  Rugs,  86. 

Manet,  34. 

Manuscripts,  Persian,  iv,  165,  166,  167. 
Marchi,  Giuseppe  (Joseph)  Filippo 
Liberati,  21. 

Marco  Polo,  1 15. 

Marie  de  Medici,  portrait, 

Pourbus  the  Younger,  9. 

Marr,  Carl,  7,  21. 

Marteau,  Giles  de  (the  Elder),  22. 

Martin,  Dr.  F.  R*  62,  62n,  74,180,  88,  90, 
96,  96 n,  99,  100,  117,  118,  126,  130,  148, 
149- 

Martin,  Homer  D.,  33. 

Mast,  The,  (Venetian  Series),  etching, 
Whistler,  31. 

Mecheln,  Israel  Van,  21. 

Meissonier,  3. 

Melencolia,  engraving,  Diirer,  iii,  17. 
Meles  Rugs,  126-127. 

Memling,  Hans,  73«. 

Menzel,  Adolph,  32. 

Meryon,  Charles,  22. 

Metsu,  73«. 

Meyer-Riefstahl,  R.,  vi,  g6n. 

Miana  Rugs,  107. 

Michallon,  3. 

Mieris,  Franz,  73n. 

Mieris,  W.  Van,  73n. 

Mill,  The,  etching,  Rembrandt,  25. 

Mill,  The,  (Dutch  Series),  etching, 
Whistler,  31. 

Millet,  Jean  Frangois,  7,  116. 

Mina  Khani  Pattern,  136. 


INDEX 


248 


Ming  Coat  of  Arms,  94. 

Ming  Rugs,  150. 

Miniatures,  five,  167. 

Mir  Saraband  Rugs,  in,  113. 

Mirror,  The,  wood  engraving,  Wolf,  34. 
“Modern  Egyptians,”  Lane,  11911. 

Mogul  Emperors,  100. 

Monastery  of  the  Dancing  Dervishes, 
Pera,  131. 

Monet,  Claude,  8. 

Monk  Sergius  Killed  by  Mahomet, 
engraving,  Leyden,  20. 

Moreland,  George,  28. 

Morning  Mists,  wood  engraving.  Wolf, 

34- 

Morris,  William,  72. 

Mosque  of  Alla-al-Din,  88. 

Mosul  Rugs,  83,  84,  136,  154. 

Mosul-Kurd  Rugs,  97,  104. 
Mother-in-Law,  The,  painting,  Vasquez, 
10. 

Mouchel,  7. 

Moya,  73 n. 

Mudjar  Rugs,  122,  128,  129. 

Muhammad  Hasan  Khan,  in. 

Mumford,  J.  K.,  69,  73 n,  84,  86,  96,  107, 
in,  120,  125,  14S. 

Munich  Exposition-  of  Mohammedan  Art, 
124. 

Munich  School,  7,  21. 

Museums: 

Berlin,  25,  74,  94. 

Boston,  77,  99. 

British,  19,  131. 

Hermitage,  St.  Petersburg,  6. 

Imperial  Household,  Tokyo,  96. 

Kaiser  Frederick,  Berlin,  87,  96. 
Louvre,  9. 

Luxembourg,  5. 

Madrid,  9. 

Marseilles,  6. 

Memorial,  Golden  Gate  Park,  San 
Francisco,  16. 

Metropolitan,  New  York,  77,  98. 

Musee  Rath,  Geneva,  9. 

Nadar  Galleries,  Paris,  6. 

Naseby  House,  Sweden,  96. 

South  Kensington,  73,  86,  87,  98,  99, 
130,  133,  i4S,  i5D  155- 
Stockholm,  62. 

Victoria  and  Albert,  102M,  133M. 
Vienna,  74. 

Zurich  National,  86. 


Music,  painting,  Van  Loo,  6. 

Music  Room,  The,  wood  engraving, 

Wolf,  32. 

N 

Nadir  Shah,  94,  no,  134. 

Nanking  Rugs,  86. 

Neer,  Eglon,  73 n. 

Neophyte,  The,  etching,  Dore,  16. 

Netscher,  73m 

Neugebauer,  81  n,  10 2n. 

New  York  (Lower)  in  a  Mist,  wood 
engraving.  Wolf,  34. 

Night  Watch,  painting,  Rembrandt,  25. 

NirisRugs,  83,  84,  114,  131,  13411. 

Nobleman’s  Pouch  (embroidered), 
German,  216. 

Norwegian  Tapestry,  62. 

0 

Ointment-Bottle,  Phoenician  Glass,  174. 

Ointment- Vessel,  Phoenician  Glass,  174. 

Open  Air  Meeting,  wood  engraving, 
Wolf,  32. 

Opie,  J.,  17. 

Oriental  Rugs,  69,  71,  72,  73,  76,  77,  79, 
90,  91,  92,  93,  94. 

Ostade,  Adriaen  Van,  23. 

Oushak  Rugs,  70,  75,  81,  86,  88,  89,  92, 
117,  118,  121,  123-125,  132,  149. 

P 

Palaces,  The,  (Venetian  Series), 
etching,  Whistler,  31. 

Panama-Pacific  International  Exposition, 
32. 

Paolo  and  Francesca  da  Rimini,  painting, 
Dore,  16. 

Paris  Academy,  22. 

Paris,  Etchings  of  the  Streets  of, 

Meryon,  22. 

Paris,  Girtin’ s  Views  of,  engravings, 
Lewis,  20. 

Parsee  Dress,  Indian,  214. 

Parsee  Woman’s  Jacket,  Indian,  214. 

Pasini,  Alberto,  9. 

Peale,  Charles  W.,  34. 

Pear  or  Crown-Jewel  Device,  134. 


INDEX 


Peasant’s  Apron,  Swedish,  216. 

Peasants’  Caps,  Bavarian,  216. 

Peasant  Mother,  painting,  Millet,  8. 

Peasants  Singing  at  a  Window,  etching, 
Ostade,  23. 

Pekin  Rugs,  85. 

Perfume-Bottle,  European  Glass,  175. 
Perfume-Bottles,  Phoenician  Glass,  173, 
174. 

Persia,  History  of,  manuscript,  166. 
Persian  Rugs,  78«,  80,  81,  82,  83,  85,  94, 
96-116,  124,  130,  148,  149,  154. 

Persian  Sash  (gold  brocade),  192. 

Persian  Sash  (silk),  195. 

Persian  Silk  Weave,  195. 

Persian  Velvet  (nude  figures  between 
cypress-trees),  193. 

Persian  Velvet  on  Gold  Brocade,  192. 
Persimmon-color  Rug,  85. 

Perugia,  pencil  drawing,  Marr,  22. 
Phelippes,  22. 

Philadelphia  Horticultural  Hall,  mural 
paintings  in,  by  Joseph  L.  Smith,  29. 
Philippine  Shawls  (silk  woven),  205. 
Phoenician  Glass,  iv,  173- 174. 

Piano,  early  Chickering,  160. 

Piano,  Louis  XVI.  style,  160. 

Pindar,  Peter,  Esq.,  engraving,  Hodges, 
17. 

Piranesi,  Giambattista,  23. 

Veduta  dell’  Arco  di  Tito,  24. 

Veduta  del  Tempio  di  Ercole  nella  citta 
di  Cora,  died  miglia  lontano  da 
Velletri,  24. 

Veduta  dell'  Arco  di  Settimio 
Severo,  24. 

Veduta  degli  avanzi  del  Tablino  della 
casa  aurea  di  Nerone  detti  volgar- 
mente  il  Tempio  della  Pace,  24. 
Veduta  dell’  Anhteatro  Flavio,  detto  il 
Colosseo,  24. 

Veduta  del  Pantheon  d’Agrippa  (Oggi 
Chiesa  di  Maria  ad  Martyres),  24. 
Veduta  del  Tempio  detto  della 
Concordia,  24.  , 

Castello  S.  Angelo,  24. 

Veduta  dell’  Arco  di  Benevento  Nel 
Regno  di  Napoli,  25. 

Vue  des  restes  du  derrikre  du  Pronaos 
du  Temple  de  Neptune,  25. 

Altra  Veduta  del  Tempio  della  Sibilla 
in  Tivoli,  25. 

Vue  interieure  du  College  suppose  des 
Anfictions,  25. 


249 


Planche,  Francois  de  la,  53,  56. 

Plate,  Persian  Glass,  (decorated),  176. 

Playing  Boys,  51. 

Polish  Rugs,  108,  154. 

Polonaise  Rugs,  73,  87,  148. 

Polycrates  Sami  Tyraness,  opibus  et 
felicitate  inclytus,  ab  Orete  Perfarum 
Satrapa  captus,  ac  cruciafhxus  docuit, 
neminem  ante  obitum  merito  did  posse 
felicem,  engraving,  Salvator  Rosa,  28. 

Pope,  Prof.  A.  U.,  vi. 

Popper,  Prof.  William,  111. 

Portrait  of  a  Gentleman,  engraving, 

J.  Watson,  30. 

Portrait  of  a  Lady,  wood  engraving, 

Wolf,  32,  34. 

Portrait  of  the  Engraver,  wood 
engraving.  Wolf,  35. 

Portrait  of  His  Mother,  painting, 
Whistler,  116. 

Pouch,  Nobleman’s,  German,  216. 

Pourbus,  Francis,  (the  Elder),  9. 

Pourbus,  Francis,  (the  Younger),  9. 

Preparing  for  the  Ball,  painting, 

Lancret,  5. 

Presentation  in  the  Temple,  The, 
painting,  Rembrandt,  25. 

Prices  of  Rugs  in  the  Middle  Ages,  72*1. 

Prince  of  Wales,  portrait,  painting, 
Reynolds,  26. 

Prometheus,  painting,  Salvator  Rosa,  27. 

Pyle,  Howard,  35. 

R 

Raphael,  101. 

Recchi,  Marco,  15. 

Rembrandt,  Harmensz  van  Rijn,  25,  31. 

Remond,  4,  9. 

Renaissance  Tapestry,  iii,  43,  56. 

Renaissance  Tapestry  Border,  Fragments 
of,  60. 

Renconter,  tapestry,  Van  Borght,  63. 

Reni,  Guido  (also  known  as  Guido),  26. 

Rest  During  Drill  at  Camp  St.  Maur, 
painting,  Detaille,  3. 

Reynolds,  Sir  Joshua,  17,  21,  30. 

Reynolds,  Samuel  William,  26. 

Rhode  Island  School  of  Design,  96. 

Rhodes  Sleeve  (embroidered),  210. 


INDEX 


250 


Rhodian  Rugs,  127. 

Ricci,  Marco,  23. 

Richelieu,  54. 

River  Landscape,  painting,  Monet,  8. 
River  Scene,  wood  engraving,  Wolf,  33. 
Road  in  France,  A,  painting,  H'arpignies, 
4- 

Road  to  the  Village,  The,  wood  engraving. 
Wolf,  33. 

Roadside,  The,  wood  engraving,  Wolf, 

33- 

Robe,  Buddhist  Priest’s,  Japanese,  198. 
Robe  (rich  embroidery),  Chinese,  215. 
Robe  (silk  tapestry  woven),  Chinese,  200. 
Robe  (tapestry  woven),  Chinese,  200,  201. 
Romano, Giulio,  51,63. 

Romney,  G.,  33. 

Rosa,  Salvator,  27. 

Rotlienburg  ob.  den  Tauber,  pencil 
drawing,  Marr,  21,  22. 

Rubens,  Peter  Paul,  28,  62,  73 n,  100. 

Rugs:  Ancient  and  Modern,  73-76. 

Classification  and  Identification,  80-86. 
Dating  of,  86-91. 

Expressive  of  Racial  Character  and 
Experience,  91-95. 

Interest  in  Oriental,  69-70. 

Oriental  as  Fine  Art,  70-73. 

Study  of,  79-80. 

Value  of  an  Exhibition  of,  76-79. 

“Rugs  in  Their  Native  Land,”  Dunn,  g2n. 
Roumanian  Mountaineer’s  Belt,  160. 
Rousseau,  (Pierre  Etienne)  Theodore, 

9,  1 1 6. 

Royal  Academy,  London,  18,  20,  30. 

Royal  Bokhara  Rugs,  144. 

Royal  Calcography,  Rome,  23. 

Royal  Society  of  British  Artists,  31. 

Rural  Architecture  Studies,  pencil 
drawing,  Marr,  21. 

Russian  Boots  (ornamental  peasant 
leather),  160. 

Russian  Table-Cloth,  199. 

Rusus,  Peter,  Esq.,  Magistrate,  portrait, 
drawing,  Holbein  the  Younger,  19. 

5 

Saadi  (poet),  complete  works,  Persian 
manuscript,  165. 

Sadi  (poet),  complete  works,  Persian 
manuscript,  165,  166. 


Sadi  and  Hafiz,  Odes  from,  Persian 
manuscript,  167. 

Safavid  Dynasty,  100. 

“Sahaman  wa  Absal,”  and  other  poems, 
Persian  manuscript,  166. 

St.  Hubert,  engraving,  Diirer,  iii,  17. 

St.  Hubert,  engraving,  Leyden,  20. 

St.  John,  Castle  of,  Rhodes,  127. 

St.  John,  Church  of,  Rhodes,  127. 

St.  Luke  Writing  the  Gospel,  painting, 
Spanish  School,  XVI.  Century,  10. 
Salon  Piece,  Bohemian  Cut  Glass,  176. 
Samarkand  Rugs,  83,  109,  120,  142,  146- 
147,  155- 

Sampler  (embroidery),  E.  Mediterra¬ 
nean),  210. 

San  Francisco,  View  of,  etching, 
Meryon,  23. 

Saraband  Rugs,  70,  84,  89,  154. 

Sari  (woman’s  garment),  Indian,  196. 
Sarong  Garments,  Philippines,  205-206. 
Sarouk  Rugs,  76,  101. 

Sarre,  Dr.  Friedrich,  80,  96m 
Sash  (gold  brocade),  Persian,  192. 

Sash  (silk),  Persian,  195. 

Scandinavian  Weaves,  62. 

Scarf  (gold  fringe),  Bavarian,  199. 

Scarf  (white  linen,  silk-embroidered), 
Bulgarian,  21 1. 

Scarf  (embroidered),  Jerusalem,  21 1. 
Schalken,  73M. 

Schongauer,  Martin,  17. 

Schonleber,  Gustav,  10. 

School  of  Design,  Rhode  Island,  96. 
Sconse  (brass),  Holland,  159. 

Screen  (porcelain),  Chinese,  159. 

Screen,  Japanese,  159. 

Sedan  Chair,  French,  159. 

Sedan  Chair,  Japanese,  159. 

Sehna  Rugs,  108. 

Sehna  Khilim  Rugs,  108,  109. 

Self-Portrait :  Lenbacli,  wood  engraving 
Wolf,  33. 

September,  tapestry,  50. 

Settee,  Spanish,  160. 


Shiraz  Rugs,  83,  84,  94,  114,  130,  131, 
I34«- 

Shirvan  Rugs,  75,  81,  84. 

Shirvan-Khilim  Rugs,  138-140. 
Shadow-Bands,  97. 

Shah  Abbas,  87,  101. 

Shah  Ismael,  123. 

Shah  of  Persia,  87. 

Shannon,  J.  J.,  32. 

Shantung  Rugs,  86. 

Shawl,  with  stripes  of  animal  decoration, 
Borneo,  205. 

Shawl  (embroidered,  satin  stitch),  Indian, 
213- 

Shawl  (silk-embroidered),  Indian,  212. 
Shawls  (Cashmere),  Indian,  201,  202. 
Shawls  (silk  woven),  Philippines,  205. 
Sherwin,  28. 

Ships,  Series  of  Five  Scenes  of,  tapestry, 
64. 

Shipwrecked  Sailor,  The,  wood  engraving, 
Wolf,  35. 

Shirt  (linen,  silk  embroidery),  Balkan, 

21 1. 

Shirts  (upper  parts  of),  Bulgarian,  210. 
Sideboard,  Flemish,  159. 

Siena,  pencil  drawing,  Marr,  22. 

Silk  Weave,  Persian,  195. 

Skirt  (embroidered),  Chinese,  215. 

Skirt  (embroidered,  satin  stitch), 

Chinese,  21 5. 

Skirt  (gold  brocade),  Indian,  197. 

Skirt  (silk-embroidered),  Indian,  213. 
Skirt,  Woman’s,  Indian,  214. 

Sleeve  (embroidered),  Rhodes,  210. 

Sleeve  (embroidered,  fragment),  Italian 
or  Spanish,  209. 

Sleigh,  French,  159. 

Sleigh  Ride,  The,  tapestry,  49. 

Slingelant,  73*1. 

Smith,  John  Raphael,  17,  26,  28,  29. 

Smith,  Joseph  Lindon,  29. 

Smith,  Samuel,  29. 

Smith,  Thomas,  28. 

Snow  Pass  of  Schipka,  painting, 
Vereshchagin,  12. 

Soldiers  Halting  at  a  Country  Inn, 
painting.  Detaille,  3. 

Solomon.  The  Story  of,  (German 
embroidery),  61. 


251 


Soleiman  I.,  123. 

Souj-Bulak  Rugs,  70,  84,  89,  93,  97,  149. 

Soumak  Rugs,  93. 

Southern  Persia  Rugs,  83. 

Spagnoletto,  27. 

Spanish  Countess,  A,  wood  engraving, 
Wolf,  33. 

Spanish  School  (XVI.  Century),  10. 

Spanish  Stole  (embroideerd),  208. 

Spanish  (or  Italian)  Table-Cloth,  199. 

Spinet,  Austrian,  160. 

Stadler,  20. 

Statuette,  Tanagra,  174. 

Steen,  Quinkhardt,  73M. 

Steenwyck,  Van,  73*1. 

Stevenson,  Robert  Louis,  wood 
engraving,  Wolf,  33. 

Stiegel  Glass  Bottle,  German,  175. 

Stole  (embroidered),  Spanish,  208. 

Stothard,  15. 

Stuart,  Gilbert,  32,  34. 

Swallow-Myth,  85. 

Swedish  Apron  (embroidered),  216. 

Swedish  Peasant’s  Apron,  216. 

Swedish  Peasant  Tapestry  (Modern),  62. 

Syndics,  The,  painting,  Rembrandt,  25. 

T 

Table-Cloth,  Russian,  199. 

Table-Cloth,  Spanish  or  Italian,  190. 

Table  Cover  (embroidered  linen),  Greek 
Islands,  210. 

Szalay,  Baron  Imre,  86. 

Tanagra  Statuette,  174. 

Tamerlane  the  Great,  146. 

Tapestry:  The  part  it  has  played  in  the 
diplomacy  of  the  Middle  Ages;  the  ar¬ 
istocratic  art;  has  charm  and  value  of 
its  own;  cannot  attain  its  true  worth 
while  a  mere  satellite  of  its  sister  arts; 
must  express  its  own  principles  in  its 
designs;  its  deterioration  since  the 
seventeenth  century,  39 — -Art  of  com¬ 
pared  with  that  of  painting,  39-42  — 
Technique,  42-43 — -Three  general 
types  of  design,  43-44  —  History  from 
the  thirteenth  century  to  the  begin¬ 
ning  of  the  sixteenth  century;  its  su¬ 
premacy  in  the  Gothic  Renaissance, 
44-45  —  Marked  change  in  design  at 
beginning  of  sixteenth  century;  influ¬ 
ence  of  the  Italian  Renaissance;  Pope 


INDEX 


INDEX 


252 


Leo’s  commission  to  Raphael,  45  — 
Mortlake  founded  in  England;  the 
Gobelins;  influence  of  Rubens  and 
ieniers,  Le  Brun  and  Boucher;  fan¬ 
tastic  scenes  from  India  and  China 
■  TT  De£radati°n  of  the  art  in  the 
eighteenth  and  nineteenth  centuries; 
ignoble  use  of  the  famous  Apocalypse 
tapestries  in  the  Cathedral  of  Angers; 
influence  of  Raphael’s  cartoons,  46-47 
—  The  genius  of  tapestry  revives  at 
the  nineteenth  century; 
William  Morris  establishes  the  Merton 
Abbey  looms;  the  Herter  looms  in 
New  York,  47-48. 

Tapestry,  Chinese,  iii,  200. 

Tapestry  Border,  64. 

Tapestry,  Gothic  Hunting,  ivra,  v,  49. 
Tapestry,  Verdure,  61. 

Tapestry,  representing  the  Eight 
Immortals,  Chinese,  199. 

Tear-Bottle,  Phoenician  Glass,  173. 
lear-Bottle  (double),  Phoenician  Glass, 

173- 

Temple  Ruins,  drawing,  J.  L.  Smith,  29. 
Teniers,  61. 

Terborck,  73M. 

Textiles:  Fascination  of  the  study  of 
woven  fabrics;  the  evolution  of  their 
patterns  an  interesting  problem;  silk 
weaves  imported  from  China  to  the 
Mediterranean  countries  as  early  as 
the  time  of  Alexander  the  Great;  Alex¬ 
andria,  Egypt,  once  the  center  of  the 
weaving  industry,  179  — Oriental  art, 
influence  of;  philosophy,  and  relig- 
1?nS  V>  fame  of  the  Sassanian  weaves; 
the_  Byzantine  period;  the  “panni  im- 
periales  de  Romania,”  180  —  The 
Mongol  conquest;  Djengiz  Ivhan;  Ku- 
blai  Kahn;  influence  of  the  Far  East 
m  the  manufacture  of  textiles;  the 
panni  tatarici”;  Chinese  weaves* 
Lucca  weaves,  181  —  The  glorious 
Italian  creations  of  the  fifteenth  cen¬ 
tury;  Renaissance  motives;  shifting  of 
textile  production  from  Italy  to  France 
in  the  seventeenth  century;  Lyons 
and  Tours;  the  designer,  Philippe  de 
la  Salle;  Watteau,  Clodion,  Boucher, 
Fragonard,  182  —  Educational  value 
of  the  study  of  textiles;  technique  of 
the  weaves;  the  Hearst  collection,  183- 
184  —  Summary  of  textile  sections, 
185. 

Thayer,  Abbott  H.,  35. 

Thomson,  53. 


Three  Trees,  The,  etching,  Rembrandt 
'25- 

Tiffany  Studios,  84,  85. 

Tohfe  of  Hakim  (work  on  medicine), 
Persian  manuscript,  166. 
Toilette-Bottle,  Phoenician  Glass,  174. 
Torrigiani  Palace,  74. 

Towel  (linen  weave,  embroidered), 
Turkish,  21 1. 

Tree-of-Life  Pattern,  107. 

Trinity  Workshop,  53. 

Troost,  73m 
Turtle  Design,  112. 

Tabriz  Rug§,  84. 

Tekke  Rugs,  142-144. 

Tekke  Saddle-Bag,  144. 

Tien-tsin  Rugs,  85. 

Timurid  Rugs,  131. 

Traghetto,  The,  (Venetian  Series), 
etching,  Whistler,  31. 

Turkish  Harem  Slippers  (gold- 
embroidered),  212. 

Turkish  Rugs,  80,  81,  85. 

Turkoman  Rugs,  80,  141-145. 

Tuzla  Rugs,  128-129. 

Turkish  Towel  (linen  weave, 
embroidered),  211. 

u 

L’Umana  Fragiliata,  painting,  Salvator 
Rosa,  28. 

Ushak  Rugs,  109. 

V 

Valentiner,  Dr.,  117,  n8. 

Valeriani,  23. 

Varotari,  Tin. 

Vase  (metal),  Benares,  159. 

Vase,  German  Glass,  176. 

Vase,  Giuseppe,  23. 

Vase,  Phoenician  Glass,  173. 

Vasquez,  Carlos,  10. 

Velazquez,  33. 

Velvet  on  Gold  and  Silk  Brocade, 
Chinese,  198. 

Velvet,  Italian,  186,  188. 

Velvet  (red  on  blue),  Italian,  186. 

Velvet  (nude  figures  between  cypress- 
tree),  Persian,  193. 


INDEX  253 


Velvet  on  Gold  Brocade,  Persian,  192. 
Velvet  Brocade,  Italian,  189. 

Venus  Crowned  by  Cupid,  engraving, 
Marteau,  22. 

Venus  Disarmed  by  Cupid,  engraving, 
Marteau, 22. 

Verdure  Tapestries,  Two,  61. 
Vereshchagin,  Vasili  Vasilievich,  11,  12. 
Vermeer,  34,  35,  73 n. 

Vessal,  complete  works,  Persian 
manuscript,  166. 

Vienna  Gallery,  63. 

Vinci,  Leonardo  da,  35. 

Virgin  and  Child,  The,  engraving, 
Durer,  17. 

Virgin  Enthroned,  A,  wood  engraving, 
Wolf,  35- 

Virgin  Enthroned,  The,  drawing,  Guido 
Reni,  26. 

Vos,  Cornelis  de,  73«. 

Vos,  Simon  de,  73n. 

w 

Wagner,  Joseph,  15. 

Wall-Hanging  (embroidered),  Chinese, 
214. 

Wall-Hanging  (velvet),  Italian,  187. 
Wall-Hanging  (border),  Italian,  188. 
Ward,  James,  29. 

Ward,  William,  29. 

Water-Carafe,  European  Glass,  176. 
Watson,  Caroline,  30. 

Watson,  James,  30. 

Watson,  Thomas,  30. 

Watson,  William,  30. 

Watteau,  5. 


Wedding  Cap,  Bavarian,  216. 

Weir,  J.  Alden,  33. 

Western  Asia  Rugs,  90. 

Wheatly,  Francis,  28. 

Whistler,  James  Abbott  McNeill,  30,  32, 
35.  116. 

Wiles,  35. 

Williams,  96,  96ft,  121. 

Wine- Flagon,  European  Glass,  175,  176. 

Wolf,  Henry,  32. 

Wolgemut,  Michel,  16. 

Woman’s  Jacket  (silk-embroidered), 
Indian,  213. 

Woman’s  Skirt  (embroidered),  Indian, 
214. 

Y 

Yomud  Rugs,  84,  141,  144. 

Young  Woman  at  the  Window,  wood 
engraving,  Wolf,  35.  ' 

Younge  (Miss),  Mr.  Dodd,  Mr.  Love, 
and  Mr.  Waldron  in  the  characters  of 
Viola,  Sir  Andrew  Aguecheek ,  Sir 
Toby  Belch,  and  Fabian,  engraving,  J. 
R.  Smith,  28. 

Yung  Cheng  Rugs,  1 52-1 53. 

Yuruk  Rugs,  82H,  84,  127,  129. 

z 

Zodiac,  Signs  of  the,  51. 

Zoffany,  J.,  27. 

Zoroastrians,  134. 

Zubaran,  73». 

Zuccarelli,  15. 

Zile  Soumak  Rugs,  140. 


SAN  FRANCISCO 


